Michael Kimball interviews Rachel Sherman (author of the brand new novel Living Room from Open City) for the Faster Times.

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Why Are Books Nice?

electronic book

A nice article by Stephen Marche in the WSJ kind of responds to Nicholson Baker’s complaints about the Kindle. Marche provides an aside about a 15th-c scholar named Trithemius who wrote “In Praise of Scribes” and argued against the newfangled printed book. Trithemius thought that

[p]rinted books could never match the beauty and uniqueness of a copied text; copying produced a state of contemplation which was spiritually beneficial; and copying was a way of reducing error, which indeed it was at first. His central claim was that hand-produced books were inherently holy. His leading anecdote is the story of a scribe who died after decades of copying texts. When they disinterred him, the three fingers of his right hand, his writing hand, had not decomposed. Anyone who has held a handmade medieval missal—or even a handwritten letter—knows what Trithemius is talking about: the sense that someone is communicating something to you personally.

Obviously Trithemius lost the battle against print, and so too now will books be printed less and less and downloaded increasingly. But I think Trithemius is still instructive. Defending an old thing, and arguing against a new thing, requires a clarification of values. This idea about the state of contemplation produced by transcription particularly ignited me, and encourages me to do the thing more where I copy out other people’s sentences and lines.

Now let us praise the printed book, or try to. Marche somewhat cattily says that Baker’s argument “boils down to how much he likes the feel of paper.” Maybe so, but in any case I think it could be useful to think more about what we like about printed books. As e-readers like the Kindle proliferate, what do we want to preserve? Lots of complaints about Kindle boil down to weaknesses in the technology. Like, eventually e-readers will be much easier to flip through, and write in, use the index of; and the quality of photos and art will be like on computers soon enough. For my part, I’m holding out until I can take it in the bathtub, where I do 40% of my reading at least.

But what are the things that are nice about books that the technology could never accommodate? Is it just the feel of paper and the weight of the book? Or how you feel proud when you look at the bookshelf and see all that you’ve read? Marche writes, “Why are so many writers so afraid of this staggeringly wonderful possibility?” I wouldn’t say I’m afraid, but I still want to write books that are printed, and I still want to read books by other people that are printed. Marche’s article has prompted me to try to figure out why. Any ideas?

Technology / 70 Comments
October 20th, 2009 / 12:29 pm

No User

anonymousCat

Let’s talk about the cult of the anonymous comment. Seems like a significant portion of the comments in forums of this nature where someone actually comes out and says something directly criticizing another person for something they feel strongly about, it is done in an anonymous context. No link, no email, usually a goofy name. Being able to see the ISPs behind the comments, I can tell you that a lot of the time these comments come from people who had posted before while supplying their real name and links, and their veiling only began when they actually had something to say.

Which is, obviously, confusing, supposedly being a group of ‘writers’. [For the record I hate referring to people as writers, because every person is a writer. It’s like saying I’m a breather.] But these people who under the guise of the idea that they write regularly and more seriously than people who are just writing down grocery lists or whatever, it seems like these would be the kind of people most willing and fully ready to associate the words they are saying with their personas. Right? You are a ‘wordsmith,’ you say things that other people are supposed to want to listen to, so why go anonymous when you are actually saying something with some balls behind it?

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Behind the Scenes / 172 Comments
October 20th, 2009 / 11:15 am

Reviews

The Tragic Pornographic: On Say You’re One of Them

angryafricans

Roughly defined, the ancient Greek concept of métis, or cunning intelligence, is how we use subversive strategies to succeed in the face of seemingly insurmountable odds. Métis is about using our perceived weaknesses to our advantage and turning our opponent’s strength(s) against them.

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57 Comments
October 20th, 2009 / 9:00 am

Would you submit your ‘work’ to joesdickshed.blogspot.com? Under what criteria would this be a lucrative ‘market’ for your work?

Breyten Breytenbach: Writing as a Sense Organ

Mouroir-Cover-for-web

Heather Hartley: While you were in prison, you said, “writing becomes a sense organ.” How do you mean this?

Breyten Breytenbach: In prison particularly [this is the case], and I’m sure it’s probably the same if one were to find oneself in any situation of isolation. Imagine that you get lost in the high mountains or you’re sick and in hospital for a long period or that you’re going to a monastery. I think that if writing is your bent, it becomes a sense organ through which you experience or try to understand the world … I think it becomes an essential medium to access the world around you, your immediate environment and also the interaction between this, memories and imagination. It’s also a way of accessing your self.

I hadn’t been aware of the extent to which writing becomes an inevitability, becomes an actual necessity. It’s nearly as if something doesn’t really exist until I can shape it in writing or think it in writing and it’s in this way that I compare it to a sense organ. I think one becomes dependent on it in the same way as you look and listen to and interpret what you hear and what you see. In writing, which is obviously a quiet activity, [although] I’m not sure it’s a natural one, I think it does become a sense organ, yes. Probably a kind of aggregate of the others … but then perhaps none of the sense organs exist by themselves.

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Author Spotlight / 4 Comments
October 19th, 2009 / 3:01 pm

Circumcision

On our way to the Mall today (DC) we passed some Circumcision demonstrators holding up signs like “Circumcision Decreases Sensation” and “Circumcision is Torture.” And, indeed, Circumcision is a touchy subject with many interesting ethical pros and cums. But, honestly, when it comes to circumcision there’s only one legitimate question:

Does Circumcision make you a better or a worse writer? (it must have some effect, right ??)

If it makes you a worse writer then I want the procedure reversed. I want to be uncircumcised.  And I want to talk to that cold-hearted bastard of a rabbi who took the knife to me 42 years ago and who therefore was no true patron of the arts.

If it’s better to be circumcised then great. And, thanks Reb (Rabbi). You did a great job.

And keep snipping !!!

Author News & Behind the Scenes / 34 Comments
October 19th, 2009 / 2:41 pm

what is the relationship between your work and theory?

So yesterday I was doing some research to find out if anything has been written on the intersection of Deleuzian studies & Finnegans Wake. (Turns out, not much!) Anyway, I came across this public dialog between Jean-Michel Rabaté and Gregg Lambert called “The Future of Theory?” from 2002, occasioned by the publication of Rabaté’s book The Future of Theory.

Among other things, it got me thinking about the relationship between theory and creative writing. Do contemporary creative writers read theory, think about theory, use theory in their creative work? If so, how?

As an added bonus, here’s the intro to their conversation:

Lambert: To begin with I want to recall a line from Difference and Repetition, which forecasts a style of philosophy for the future, regarding what Deleuze describes as “a bearded Mona Lisa and a clean shaven Marx.” This line returned to me, Jean-Michel, as I read your account in The Future of Theory, particularly regarding your description of what you call “an hysterical Hegel.” Now, I always thought Marx was the hysterical one in relationship with Hegel, but here you seem to be saying something different. In the book there is a very dominant thesis that that Theory constantly risks becoming a little bit hysterical, or that its discourse itself is, in some way, hystericizing. Can you talk a bit about your use of the term “hysterical” with regard to the discourse of theory?

You can listen to the whole conversation here.

Craft Notes / 70 Comments
October 19th, 2009 / 12:33 pm