no country for old wainds
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- Nov 23, 2002
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don't pretend you know what tumblr is, old man. even goatse, tubgirl, joecartoon, rathergood, ebaumsworld, spiderman has made you gay, pain4, 1337 speak, askjeeves/lycos/altavista search, napster/audiogalaxy/dc++/kazaa/imesh/morpheus, geocities and xanga are after your time. have you even heard of teletext? we have these things called fax machines now you know.
[...] the lessons of Wilde, Mirbeau and their ilk can help us understand how the act of storytelling is, necessarily, an exertion of power – of the voiced over the voiceless – that we can view through a political lens. We can see this already in the earlier 19th-century examples, which are – with the rule-proving case of the ‘feminised’ Dorian Gray – constructed along gender lines. Men tell stories about themselves; women are formed by the stories men tell about them. Men create themselves; women are creations.
More than a century after Kierkegaard, feminist critics have argued that our understanding of narrative conventions are governed by vectors of sexual inequality. And by the predominant understanding of the linguistic, narrative act as male, even as the un-narrativised world is always female: just look at Genesis, where God’s speech colonises the feminised waters of the void.
The American literary critic Nancy Miller points out that the very way we judge the events of novelistic narrative as plausible or implausible is rooted in social codes (and patriarchal expectation). When it comes to identifying with a character and understanding her behaviour, ‘verisimilitude’ measures conformity to a social ideal. Novels, Miller says, do ‘not imitate life but reinscribe received ideas about the representation of life in art. To depart from the limits of common sense… is to risk exclusion from the canon.’
Translated from French by Richard Sieburth, with a foreword by Maurice Blanchot. Hailed as an “important literary document and contemporary pleasure” by Lydia Davis, Nights as Day, Days as Night is a chronicle of Michel Leiris’s dreams. But it is also an exceptional autobiography, a distorted vision of twentieth-century France, a surrealist collage, a collection of prose poems. Leiris, author of the seminal autobiography Manhood, here disrupts the line between being asleep and awake, between being and non-being. He captures the profound strangeness of the dreamer’s identity: that anonymous creature who stirs awake at night to experience a warped version of waking life.
Whatever the setting (from circus shows to brothels, from the streets of Paris to Hollywood silent films), Leiris concentrates on estranging the familiar, on unsettling the commonplace. Beautifully translated by Richard Sieburth, these dream records often read like an outsider’s view of Leiris’s life and epoch. This outsider is the dreamer, Leiris’s nocturnal double, whose incisors grow as large as a street, who describes the terror he feels at being executed by the Nazis, and who can say in all seriousness, “I am dead.” It is an alternate life, with its own logic, its own paradoxes, and its own horrors, which becomes alienating and intimate at once. With hints of Kafka, Pirandello, and Nerval, Nights as Day, Days as Night is one of Leiris’s finest works of self-portraiture.
Just re-read Conrad's The Secret Agent to teach it to my class. Tough text to teach, but I think it's my favorite Conrad novel. Now re-reading Dracula, which we're discussing this week. Super-psyched.
But I think I'm most excited to teach this to my students. Not only an amazing SF novel, but one of my favorite books since 2000. Deserves way more attention than it currently gets:
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I bet you have already read Heart of Darkness, but have you read Lord Jim?