Aug 222013
 

See also in this fall preview list books by Cynthia Flood and Jeet Heer, both of whom have contributed to NC.

Expect the unexpected: “Glover skewers every conventional notion we’ve ever held about that cultural-emotional institution of love we are instructed to hold dear.” This short story collection promises to make readers both laugh out loud and reel back in horror.

via Writers and Editors, Murders and Infatuations, Love and Comics: New Books of Note | The Toronto Review of Books.

Aug 212013
 

photo_1

This is dg’s brother, rg, who can be pretty funny about his catastrophic sports endeavors. He neglects here to mention his epic road race (many years ago) one hot July in Brantford, Ontario, when he fell over from heat exhaustion and was found by the EMS crawling on his hands and knees in hot, oozing, fresh road tar — towards the finish line. He was taken to the hospital without being allowed to complete the course. In the photo below, blown up, you can see the blood dripping, but it’s blurry — I will spare you the vision. Another important piece of context is that Rodger is actually too gimpy to train for races. He just runs a lot of races without training. What follows is his email report.

dg

Rod cropped

So at 62 I thought it was time to branch out from road racing — too much same old same old. So on Saturday I ran the Iroquois 7K Trail Run at Crawford Lake. We set off through the woods on the Bruce Trail. We ran up the escarpment and down and up. I hit a nice flat run at about 4.5K and cranked it up. A rock leapt up out of the trail and tripped my right foot. I grazed my left knee and head. I got up to run and realized I couldn’t see. Fortunately the guy behind me had picked up what was left of my frames and the lenses and gave me his paper towels. His opinion was that I was bleeding pretty badly. I picked up the pace. There was a longer race looping back on the same trail. Some runners asked if I was OK, others just gasped. I went on up the escarpment — by this time we were walking a lot. As I went by, runners whispered to each other, “He’s bleeding.” As I came around a corner, a volunteer suggested I see a doctor, and I shouted back, “I am a doctor.” Into the home stretch — more checks that I was OK and reassurance that the finish was near. As always, a patient of mine happened to be running in the race, and her mother, a nurse from Oakville-Trafalgar Memorial Hospital, snapped pics at the end. I was disappointed that there was no award for the runner sporting the most blood at the finish. I was 19th overall and to my surprise 5th in the 51+ age group, which shows there are a lot of vaguely crazy older guys out on the trails. I took my glasses in today, and because I’d had them for less than a year, they are replacing the frames and lenses for free. I was surprised that the warranty extended to demolishing your glasses doing a face plant on the trail. I think they may just be giving me a break because the last time I got new glasses was after I did a face glide along the road falling off my bike. I’m searching for my next trail run.

—Rodger Glover

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425764_10150641334976788_1807969136_nRodger Glover is a Family Practice physician in Oakville, Ontario, a multiple dog owner, and, apparently, an extreme sports enthusiast. He appears here (right) on a better day.

Aug 202013
 

Here’s a terrific photo essay on fine book printing. The Porcupine’s Quill is a legend in Canadian publishing. R. Murray Schafer is a legend in Canadian music.

dg

At the Porcupine’s Quill, Tim and Elke Inkster make books. The couple co-founded their publishing house in 1974 in Erin Village, Wellington County, Ontario, and they have been making books by hand there ever since. Today the Porcupine’s Quill produces approximately 10 titles a year and is known for the award-winning quality of its books. This is the story of one such book.

See the photo essay @ R Murray Schafer’s The Story of a Book, Printed and Bound | TINARS.

Aug 192013
 

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Catherine Bush and dg are having a double book launch September 17 at the Gladstone Hotel in Toronto at This Is Not A Reading Series. Catherine’s novel Accusation is coming out also with Goose Lane Editions. We’re a team, hitting the high spots together, another EPIC southern Ontario reading tour. I am already tired, but there will be THOUSANDS. It’s kind of dramatic, isn’t it? Savage Love meets Accusation!

dg

What happens when Savage Love meets Accusation? Who will be accused … of what? And how Savage will the Love be?

Join us for a scintillating and sure-to-be provocative evening with writers Catherine Bush and Douglas Glover as both launch exciting new fiction. Catherine will show the book trailer created for the novel by independent filmmaker Mike Hoolboom and conduct a multi-voiced “accusation chorale.” In the spirit of his epic line “Love is an erotic accident prolonged to disaster,” Glover will teach the audience how to be instantaneously savage, witty, provocative, and deep. In short: How to Write Aphorisms for Love and Money.

Both writers will be interviewed about their work by Mark Medley, Books Editor of the National Post.

A Canadian journalist stumbles upon a good story. A tireless idealist founds a circus for children in Ethiopia. Yet what if all is not as it seems? Catherine Bush’s new novel, Accusation, follows a web of lives that intersect with life-altering consequences and forces us to confront the uncomfortable question of how we navigate the sometimes-blurred line between guilt and innocence.

The stories in Savage Love revolve around the concept of love in all its unrestrained expressions and possibilities. Lust. Infidelity. The inexorable pull of strangers and novelty. Lifelong devotion. The destructive and redemptive nature of passion. This is Douglas Glover country, and we are all willing visitors.

via Love and Accusation: Catherine Bush and Douglas Glover | TINARS.

 

Aug 182013
 

 

Savage Love CoverMy promotional events are starting to take shape. You never know, when you say yes, what you’re going to be roped into, er, I mean signed up for. Especially with panels. But it seems to be part of the job. This one looks wild. I’ll think of some jokes. Or I’ll talk about “Tristiana” and the cannibal serial killer who finds a wife, the first story in Savage Love.

Of my co-panelists, I only know Wayne Johnston personally, and we go way back. I read and loved his first novel The Story of Bobby O’Malley when I was the First Novels columnist at Books in Canada many years ago. It won the Books in Canada First Novel Award. A wonderful writer. Through all my moves, his books have stayed in my bookcase.

Mark your calendars.

Four writers talk this morning about love in all its glorious possibilities—bidden and forbidden.

via 60 Looking for Love | Vancouver Writers Fest.

 

Aug 172013
 

Just in time for my new book to come out, I’ve redone my website. The new site is here, the url is finally self-hosted. It’s pretty utilitarian and text heavy but better than I had before (now disappeared into the ether).

I also set up a news page for Savage Love. Not much there yet. Book launch will be announced next week. You can find it by clicking on the Savage Love button in the righthand column or the Savage Love entry in the navigation bar at the top of the page.

dg

 

Aug 162013
 

Science sometimes seems only to be playing catching-up by proving the obvious.

“We hypothesize that when information associated with verbal labels matches stimulus-driven activity, language can provide a boost to perception, propelling an otherwise invisible image into awareness,” Lupyan and Ward wrote in the study.

The findings suggest that perception may be more subjective and erratic than most of us would like to think.

via Using Language To See What Isn’t There.

Put this report next to a few lines from an essay in Attack of the Copula Spiders that deals with a western anthropologist and linguist who (because of grammatical constraints) cannot see what everyone else around him can see, a “bloodless one.” Makes you wonder what else is out there, the things our literate and prosaic minds cannot imagine.

An oral culture takes ages to begin to learn to translate the words of a literate culture into its own language. But a literate culture can never recover the oral consciousness which it has lost. We can write things down, record ritual, folklore and epic, and read about them later, but we cannot ever recall how it felt to be a druid. This “truth” is underlined by the experience of Daniel Everett, the anthropologist chiefly involved in studying the aforementioned Pirahã. He spent seven years with the tiny tribe and knows it as well as anyone who is not a native speaker. His major paper on the Pirahã is called “Cultural Constraints on Grammar and Cognition in Pirahã” and it concludes–actually it’s the last of the endnotes–with this amazing observation.

One morning in 1980, during a nine-month stay with the Pirahã, I awoke to yelling, crying, and whooping near the river’s edge, about fifty feet from where I was trying vainly to sleep. I went to the crowd, which included nearly every man, woman, and child in the village.  They were all pointing across the river and some were crying, some were yelling, and all were acting as though what they were seeing was very frightening. I looked across the river, but I could see nothing. I asked them what they were fussing about. One man answered incredulously, “Can’t you see him there?’ ‘I see nothing. What are you talking about?’ was my response. “There, on the other side, on that small strip of beach, is ‘igagaí a mean not-blood-one.’ There was nothing on the other side. But the people insisted that he was there in full view. This experience has haunted me ever since. It underscored how spirits are not merely fictional characters to the Pirahã, but concrete experiences.

Everett’s confusion over the experience of Pirahã ghosts, his sense of being haunted by a world of experience which he cannot share, relegated to an endnote, somehow draws into question the certainty of the entire modern project. In this encounter, basic ideas such as experience, fact, truth and evidence begin to shift suddenly and alarmingly (no wonder he shoved it into an endnote). His paper is about translation, about the difficulty of penetrating the other’s mind; but at the end he is vouchsafed an experience of otherness so alien as to be irremediably outside his ability even to sense what others around him are sensing. So that the title of his essay–“Cultural Constraints on Grammar and Cognition in Pirahã”–could justifiably be inverted to read “Cultural Constraints on Grammar and Cognition in English.” Though, of course, Everett does not see it that way and remains only “haunted” and perhaps ever so vaguely nostalgic–the modern mood.

dg

Aug 152013
 

A endlessly watchable interview with Laurence Olivier which seems useful and inspirational for anyone in any art. Intelligence, precision, intuition, discipline, ambition. I only saw him once on stage, playing Shylock in Merchant of Venice at the Edinburgh Festival in 1970. He was getting on by then. That same Festival season I saw Prokofieff’s The Fiery Angel (see the bottom of the post)at the King’s Theatre. In the finale two dozen nuns bared their breasts on stage. It says something about my hormonal imbalance that at the time the two dozen bare-breasted nuns had a larger effect on my imagination than Laurence Olivier. (Okay, I know, not very bright.)

I think I have the whole interview. It’s a bit scattered about and not in a numbered order.

dg

[youtube]http://www.youtube.com/watch?v=Ug5xZjSOC0U[/youtube]

[youtube]http://www.youtube.com/watch?v=1tXCmgxc6VI[/youtube]

[youtube]http://www.youtube.com/watch?v=bq4FtYiIlkc[/youtube]

[youtube]http://www.youtube.com/watch?v=9bX6x7oJboA[/youtube]

[youtube]http://www.youtube.com/watch?v=j_J1u8_r7jo[/youtube]

The following is not the version of The Fiery Angel I saw in Edinburgh. In Edinburgh, it was bare breasts. Here it’s panties and garters, not the same effect at all. But you get the picture. Something about this opera got under my skin. It explains a lot (when you think about how I write).

But not to go on…

[youtube]https://www.youtube.com/watch?v=Bu0RJvFhNts[/youtube]

dg

 

 

 

 

Aug 092013
 

Christ Church Cathedral, Fredericton

Lucy and I are heading to Fredericton, New Brunswick, in September for a gig as Writer in Residence at the University of New Brunswick (I am going to be the writer, Lucy will be the dog in residence). I’ll be there until May more or less. There will be no disruption in service to NC readers, except for the usual disruptions. I will dedicate a page on NC to my activities as WIR, readings, special workshops, parties, masked balls, protests, riots, police arrest reports, and such. No doubt many of you will be chartering jets and buses (bring your passports).

New Brunswick is familiar ground to me. I taught philosophy at the University of New Brunswick in 1971-72. I worked as a reporter at the Evening Times-Globe, a daily newspaper in Saint John, 1972-73, my first (of many) newspaper jobs. I was the Writer in Residence for a year at the university in the the late 1980s. The Saint John River Valley is a beautiful and mysterious place to me. I particularly love walking home down University Avenue late in the evening on a fall night. And I have many friends there. My longtime, loyal, and beloved publisher, Goose Lane Editions, is located in Fredericton. I’ll be living in Mark Anthony Jarman‘s vast warren of a house on Waterloo Row (another denizen is NC Senior Editor R. W. Gray). NC’s famous weight-lifting poet Sharon McCartney also lives in Fredericton. As does Gerard Beirne among others including several contributors to the NC at the Movies slot.

dg

 

Aug 052013
 

A. Anupama

A. Anupama used to be on the NC masthead, but she decided to take time off from her onerous duties here to do necessary things such as care of her family, finish her MFA, and polish her book manuscript. Now she is back. Look for more of her poetry reviews, poems, essays, and translations on a more regular basis. She has already contributed a LOT! Please check out The A. Anupama NC Archive Page for the whole collection.

dg

A. Anupama is a U.S.-born, Indian-American poet and translator whose work has appeared in several literary publications, including The Bitter Oleander, Monkeybicycle, The Alembic, Numéro Cinq and decomP magazinE. She received her MFA in writing from Vermont College of Fine Arts in 2012. She currently lives and writes in the Hudson River valley of New York, where she blogs at seranam.com.

Jul 242013
 

Julie Larios has been a continuous presence on NC almost from the beginning: contributing poems, essays, contest entries — she has repeatedly joined the fray with élan and delight. It seems only fitting that now she should officially join the masthead. In the August issue, Julie will begin a series of contributions under the title Undersung, beginning with an essay on the life & poems of George Starbuck.

dg

Heads

Julie Larios is the author of four books for children: On the Stairs (1995), Have You Ever Done That? (named one of Smithsonian Magazine’s Outstanding Children’s Books 2001), Yellow Elephant (a Book Sense Pick and Boston Globe–Horn Book Honor Book, 2006) and Imaginary Menagerie: A Book of Curious Creatures (shortlisted for the Cybil Award in Poetry, 2008). For five years she was the Poetry Editor for The Cortland Review, and her poetry for adults has been published by The Atlantic Monthly, McSweeney’s, Swink, The Georgia Review, Ploughshares, The Threepenny Review, Field, and others. She is the recipient of an Academy of American Poets Prize, a Pushcart Prize for Poetry, and a Washington State Arts Commission/Artist Trust Fellowship. Her work has been chosen for The Best American Poetry series by Billy Collins (2006) and Heather McHugh (2007) and was performed as part of the Vox series at the New York City Opera (2010). Recently she collaborated with the composer Dag Gabrielson and other New York musicians, filmmakers and dancers on a cross-discipline project titled 1,2,3. It was selected for showing at the American Dance Festival (International Screendance Festival) and had its premiere at Duke University on July 13th, 2013.

Jul 202013
 

Rimbaud is the most fascinating and disturbing of poets for his having touched genius and then retired to become a businessman (arms dealer). What if he was right? What if being a famous, queer, roaring boy poet was not all that great?

dg

[youtube]https://www.youtube.com/watch?v=Yy-F4vaUmzk[/youtube]

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Here’s a link to an NY Times review of a Rimbaud biography.

Still another biography of the poet who stopped writing before he was 20!

And here is “The Drunken Boat,” a poem he wrote when he was sixteen — I remember translating it for freshman French.

Comme je descendais des Fleuves impassibles,
Je ne me sentis plus guidé par les haleurs :
Des Peaux-Rouges criards les avaient pris pour cibles
Les ayant cloués nus aux poteaux de couleurs.

J’étais insoucieux de tous les équipages,
Porteur de blés flamands ou de cotons anglais.
Quand avec mes haleurs ont fini ces tapages
Les Fleuves m’ont laissé descendre où je voulais.

Dans les clapotements furieux des marées
Moi l’autre hiver plus sourd que les cerveaux d’enfants,
Je courus ! Et les Péninsules démarrées
N’ont pas subi tohu-bohus plus triomphants.

La tempête a béni mes éveils maritimes.
Plus léger qu’un bouchon j’ai dansé sur les flots
Qu’on appelle rouleurs éternels de victimes,
Dix nuits, sans regretter l’oeil niais des falots !

Plus douce qu’aux enfants la chair des pommes sures,
L’eau verte pénétra ma coque de sapin
Et des taches de vins bleus et des vomissures
Me lava, dispersant gouvernail et grappin

Et dès lors, je me suis baigné dans le Poème
De la Mer, infusé d’astres, et lactescent,
Dévorant les azurs verts ; où, flottaison blême
Et ravie, un noyé pensif parfois descend ;

Où, teignant tout à coup les bleuités, délires
Et rythmes lents sous les rutilements du jour,
Plus fortes que l’alcool, plus vastes que nos lyres,
Fermentent les rousseurs amères de l’amour !

Je sais les cieux crevant en éclairs, et les trombes
Et les ressacs et les courants : Je sais le soir,
L’aube exaltée ainsi qu’un peuple de colombes,
Et j’ai vu quelque fois ce que l’homme a cru voir !

J’ai vu le soleil bas, taché d’horreurs mystiques,
Illuminant de longs figements violets,
Pareils à des acteurs de drames très-antiques
Les flots roulant au loin leurs frissons de volets !

J’ai rêvé la nuit verte aux neiges éblouies,
Baiser montant aux yeux des mers avec lenteurs,
La circulation des sèves inouïes,
Et l’éveil jaune et bleu des phosphores chanteurs !

J’ai suivi, des mois pleins, pareille aux vacheries
Hystériques, la houle à l’assaut des récifs,
Sans songer que les pieds lumineux des Maries
Pussent forcer le mufle aux Océans poussifs !

J’ai heurté, savez-vous, d’incroyables Florides
Mêlant aux fleurs des yeux de panthères à peaux
D’hommes ! Des arcs-en-ciel tendus comme des brides
Sous l’horizon des mers, à de glauques troupeaux !

J’ai vu fermenter les marais énormes, nasses
Où pourrit dans les joncs tout un Léviathan !
Des écroulement d’eau au milieu des bonaces,
Et les lointains vers les gouffres cataractant !

Glaciers, soleils d’argent, flots nacreux, cieux de braises !
Échouages hideux au fond des golfes bruns
Où les serpents géants dévorés de punaises
Choient, des arbres tordus, avec de noirs parfums !

J’aurais voulu montrer aux enfants ces dorades
Du flot bleu, ces poissons d’or, ces poissons chantants.
– Des écumes de fleurs ont bercé mes dérades
Et d’ineffables vents m’ont ailé par instants.

Parfois, martyr lassé des pôles et des zones,
La mer dont le sanglot faisait mon roulis doux
Montait vers moi ses fleurs d’ombre aux ventouses jaunes
Et je restais, ainsi qu’une femme à genoux…

Presque île, balottant sur mes bords les querelles
Et les fientes d’oiseaux clabaudeurs aux yeux blonds
Et je voguais, lorsqu’à travers mes liens frêles
Des noyés descendaient dormir, à reculons !

Or moi, bateau perdu sous les cheveux des anses,
Jeté par l’ouragan dans l’éther sans oiseau,
Moi dont les Monitors et les voiliers des Hanses
N’auraient pas repêché la carcasse ivre d’eau ;

Libre, fumant, monté de brumes violettes,
Moi qui trouais le ciel rougeoyant comme un mur
Qui porte, confiture exquise aux bons poètes,
Des lichens de soleil et des morves d’azur,

Qui courais, taché de lunules électriques,
Planche folle, escorté des hippocampes noirs,
Quand les juillets faisaient crouler à coups de triques
Les cieux ultramarins aux ardents entonnoirs ;

Moi qui tremblais, sentant geindre à cinquante lieues
Le rut des Béhémots et les Maelstroms épais,
Fileur éternel des immobilités bleues,
Je regrette l’Europe aux anciens parapets !

J’ai vu des archipels sidéraux ! et des îles
Dont les cieux délirants sont ouverts au vogueur :
– Est-ce en ces nuits sans fond que tu dors et t’exiles,
Million d’oiseaux d’or, ô future Vigueur ? –

Mais, vrai, j’ai trop pleuré ! Les Aubes sont navrantes.
Toute lune est atroce et tout soleil amer :
L’âcre amour m’a gonflé de torpeurs enivrantes.
Ô que ma quille éclate ! Ô que j’aille à la mer !

Si je désire une eau d’Europe, c’est la flache
Noire et froide où vers le crépuscule embaumé
Un enfant accroupi plein de tristesses, lâche
Un bateau frêle comme un papillon de mai.

Je ne puis plus, baigné de vos langueurs, ô lames,
Enlever leur sillage aux porteurs de cotons,
Ni traverser l’orgueil des drapeaux et des flammes,
Ni nager sous les yeux horribles des pontons.

—text via http://www.mag4.net/Rimbaud/poesies/Bateau.html

 

Jul 172013
 

This is just out. Print edition of Quill & Quire in Toronto. It’s very nice but, of course, I wasn’t born under a rock. What is this constant mantra: the unknown Douglas Glover? Why is it that people can only remember that they have forgotten me? There is some deep phenomenological issue to be explored here. Or possibly a medical trend?

Re. the photo: This is one of set of photos taken during a writing class at Davidson College. I had assigned the class an exercise: write a sex scene. They were reading them out loud, hence the uncharacteristic expression of quizzical delight on my face. I learned things during that class that I never wanted to know.

All this is beside the point. You can pre-order my book at immense savings.

p.s. I like being called “scabrous.”

dg

Quill and Quire preview of Savage Love by Douglas Glover

Jul 172013
 

Seawrack paper cover full

Two years ago we published a set of poems from “Seawrack,” a longer poem by the prolific Canadian poet and novelist David Helwig. Now the book is out, just published by the estimable Frog Hollow Press in British Columbia as part of its Contemporary Canadian Poetry series. The cover is a gorgeous George Loewen painting. Here is what I wrote at the time about the poems we published:

The DOW is down 266 points today; America waits for the consumer to spend money so we can get out of the current crisis; the consumer won’t spend money because the debt ceiling deal promises more uncertainty about pensions, medical insurance, and jobs; it’s a merry-go-round spiraling down; and the ancient gods appear as cartoon musclemen in 3D instead of guardians and saviours. In these David Helwig poems, Lady Godiva has joined the Tea Party to protest paying taxes and money distracts us from infinities. There is, perhaps, nothing to do but write comic poems about the current situation, Post-Empire poems, in the current NC jargon of the day. These poems are taken from a 47-page long poem or group of poems called “Seawrack.”

dg

David Helwig

Seawrack
Contemporary Canadian Poetry, volume 7
Poetry by David Helwig
Cover painting by George Loewen

David Helwig has written two-handed poetry: a lyrical seasonal record appears in series with a strange, discomfiting, valedictory narrative. The seasonal record is short and tight, the odd narrative explosive in subject and in emotion. Helwig has already found acclaim as a poet but this book will surprise his devoted readers and should attract new ones.

Offered in two bindings, both printed on 80 lb. Mohawk Superfine Text. Covers printer with K3 pigment inks. Typeface: Sabon, designed by Jan Tschichold. 108 pp.

Deluxe Edition: (HC) An edition of 30 numbered case-bound books, cloth-over-board; handmade Nepalese endpapers; headband.
ISBN 978-1-926948-09-6. Price $60.00.

Regular Edition: (PB) An edition of 80 numbered Smyth-sewn books with a St-Armand white cotton cover and Nepalese Lokta flyleafs.
ISBN 978-1-926948-10-2. Price $28.00.

Jul 132013
 

Raymond Queneau

Oulipians are into literary bondage. Their fetish is predicated on the notion that writing is always constrained by something, be it simply time or language itself. The solution, in their view, is not to try, quixotically, to abolish constraints, but to acknowledge their presence, and embrace them proactively. For Queneau, “Inspiration which consists in blind obedience to every impulse is in reality a sort of slavery”. Italo Calvino (who was co-opted in 1973) concurred: “What Romantic terminology called genius or talent or inspiration or intuition is nothing other than finding the right road empirically”. Choosing the “right road” from the outset, instead of stumbling upon it haphazardly, is the Oulipian way: once the Apollonian structure has been circumscribed, Dionysus can work his magic. “I set myself rules in order to be totally free,” as Perec put it, echoing Queneau’s earlier definition of Oulipians as “rats who build the labyrinth from which they plan to escape”.

As Gabriel Josipovici argues in What Ever Happened to Modernism?, modern literature was forged out of a refusal to submit to external constraints, with the novel a “new form in which the individual could express himself precisely by throwing off the shackles that bound him to his fathers and to tradition”. The flipside of this emancipation of the writer (or privatisation of writing) was, as Walter Benjamin pointed out, isolation. No longer the mouthpiece of the Muses or society, novelists could only derive legitimacy from themselves. “Going back to the world of genres is not an option, any more than is a return to the world of the ancien régime,” writes Josipovici. The Oulipo escapes the Romantic cul-de-sac of unfettered imagination (or its Surrealist avatar, chance) by reintroducing external constraints, which are self-imposed.

via Oulipo: freeing literature by tightening its rules | Books | guardian.co.uk.

Jul 062013
 

360_abook_0223

Art is not difficult because it wishes to be difficult, but because it wishes to be art. However much the writers might long to be, in his work, simple, honest, and straightforward, these virtues are no longer available to him. He discovers that in being simple, honest, and straightforward nothing much happens: he speaks the speakable, whereas what we are looking for is the as-yet unspeakable, the as-yet unspoken.

Later…

Style is not much a matter of choice. One does not sit down to write and think: Is this poem going to be a Queen Anne poem, a Biedermeier poem, a Vienna Secession poem, or a Chinese Chippendale poem? Rather it is both a response to constraint and a seizing of opportunity. Very often a constraint is an opportunity. It would seem impossible to write Don Quixote once again, yet Borges has done so with great style, improving on the original (as he is not slow to tell us) while remaining faithful to it, faithful as a tick on a dog’s belly. I don’t mean that whim does not intrude. Why do I avoid, as much as possible, using the semicolon? Let me be plain: the semicolon is ugly, ugly as a tick on a dog’s belly. I pinch them out of my prose. The great German writer Arno Schmidt, punctuation-drunk, averages eleven to a page.

Style is of course how. And the degree to which how has become what—since, say, Flaubert—is a question that mean of conscience wax worth about, and should. If I say of my friend that on this issue his marbles are a little flat on one side, this doesn’t mean that I do not love my friend. He, on the other hand, considers that I am ridden by strange imperatives, and that the little piece I gave to the world last week, while nice enough in its own way, would have been vastly better had not my deplorable aesthetics cause me to score it for banjulele, cross between a banjo and a uke. Bless Babel.

Read the whole essay here.

—Jason DeYoung

Jun 272013
 

A couple of weeks ago on the Omens blog, I published a link to a piece on the NSA Internet surveillance revelations and Foucault’s prescient warnings about the Panopticon (a theoretical prison designed by Jeremy Bentham). That generated considerable comment, especially on Facebook. I thought it would be a good idea to introduce readers to the larger philosophy of Michel Foucault, who wrote especially about madness, punishment and sex, his interest focused on power relations. Herewith two fascinating introductory lectures from Rick Roderick (a  Duke University professor, now, alas, deceased) and the other by Michael Roth who is now the president of Wesleyan University.

dg

[youtube]http://www.youtube.com/watch?v=FHkZvRQIQ5s[/youtube]

[youtube]http://www.youtube.com/watch?v=hP79SfCfRzo[/youtube]

Jun 252013
 

The Writers’ Trust of Canada recently asked me (along with several other estimable authors) to send a list of what I hoped to read this summer and what I think other people might be interested in reading. The result was just published online. Here is my bit. Now you’re set for beach reading.

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bookI am going to shortly read George Fetherling’s The Writing Life, Journals, 1975-2005. Also re-reading Michael Ondaatje’s The Collected Works of Billy the Kid, André Breton’s novel Nadja. New books: Ror Wolf’s Two or Three Years Later: Forty Nine Digressions, also Tranquility by Attila Bartis.

A work I just read that I recommend highly is Alexander Pushkin’s The Captain’s Daughter, a short novel, fascinating for its construction (multiple orphans and adoptions) and its ironic and elegant use of genre (the family memoir). There’s a wonderful essay you can read along with it “Pushkin’s Novel The Captain’s Daughter as Fictional Family Memoir” by Leslie O’Bell published online by the North American Pushkin Society.

Douglas Glover’s latest collection of stories Savage Love will be published in September 2013.

via The Writers’ Trust of Canada – Recommended Reading.

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Jun 222013
 

Here’s the opening to my new back page piece at Global Brief. For the whole series, look here.

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There are individuals and there are the anonymous. Most of us are individuals to ourselves, family and friends, but anonymous to the rest of the human race. We are anonymous in crowded cities, in the vast bureaucracies of government and multinational corporations. We are anonymous in statistics, and when we are dead. We are anonymous except in the hearts of loved ones. But that memory eventually burns out as well. Before history, we are all anonymous – a tide of humanity swept up in events, lucky to die in a bed of our own with loved ones around (feeling like an individual).

The idea of an individual is paradoxical, like Wittgenstein’s famous duck-rabbit parable: look at a diagram one way and it’s a duck, tilt the paper and it’s a rabbit. Or it trembles, to use Jacques Derrida’s felicitous verb. Individual/anonymous. We strut our individuality, but we are haunted by images of the beehive and the anthill, where the individual is subsumed under the sign of the collective. Are we simply carriers of genes – worker bees in a hive? Is civilization merely an accumulation of minute anonymous gestures by replaceable minions? Or are we individuals with a particular claim on the infinite – infinitely precious (to a superior being, perhaps), with a will and the power to create and alter forever the course of history?

via The Individuals and the Anonymous : Global Brief.