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Ursula Le Guin Has Earned a Rare Honor. Just Don’t Call Her a Sci-Fi Writer. - The New York Times
"The speech, and her outrage, went viral. “A writer in her mid-80s simply has less to lose,” she said. “An author in midcareer who defies the hegemony of Google and Amazon, and names their immoral or unfair practices as such, takes an immediate risk of vengeance from them and of enmity from fellow writers who are cozy with them. I’m taking the same risks, but what the hell. My work is out there — visible, existent.”

Many younger writers cite Ms. Le Guin as an inspiration, including David Mitchell and Neil Gaiman. In an email, Junot Díaz talked about “The Ones Who Walk Away From Omelas,” Ms. Le Guin’s parable about a society whose happy existence depends on keeping one small child locked away in misery. Most citizens of Omelas accept that deal. A few do not.

“That story is both a call and a practice for Le Guin,” Mr. Diaz said. “She has spent all these decades trying to chart a path for those who wish to walk away from Omelas — also known as the horror of our civilization.”

“The Complete Orsinia” is Ms. Le Guin in a quieter key. “The editorial challenge of the Library of America is to strike a balance,” said Max Rudin, the library’s publisher. “On the one hand to publish writers and works that are indisputably part of the American canon, and on the other hand to publish books that stretch people’s imagination of what great American writing is.”

In the introduction, she quotes from a 1975 notebook in which she wrote that much of her work was concerned with one central notion: “True pilgrimage consists in coming home.” The hero of “Malafrena” must leave his provincial farm only to find it again.

“There’s a difference between the circle and the spiral,” Ms. Le Guin said. “We say the Earth has a circular orbit around the sun, but of course it doesn’t. You never come back to the same place, you just come back to the same point on the spiral. That image is very deep in my thinking.”

“Orsinia” has another spiral: As Ms. Le Guin’s works are being put in the canon, she has largely stopped writing. “The fiction isn’t coming. You can’t get water from a dry well.” She still writes poetry, which is a consolation.

There remains that other big legacy-cementing possibility. Last year, Ms. Le Guin was given Nobel odds of 25-1. Her conclusion: “All I have to do in the next 25 years is outlive the other 24 writers.”"
ursulaleguin  2016  sciencefiction  scifi  literature  fiction  writing  historicalfiction  recognition  junotdíaz  nailgaiman  davidmitchell  gender  genre  dondelillo 
september 2016 by robertogreco
Toward a Poetics of Skateboarding | The American Reader
"But for all of its private jargon, skateboarding’s poetry has never been linguistic. It is forever embodied and also, though this is difficult to speak of seriously, spiritual. How else to explain its appearance in Uganda without even a single retail outlet to support it? In fact, the only conveyable language of skateboarding, outside of participation and socialization in the activity itself, has always been spoken through film.

In broad terms, skate media splits time between documentation and advertisement, and their commercial evolution has skewed ever more crass and spectacular. Recent work from select video artists, however, attempts to confront the activity’s basic mystery and meaningful meaninglessness. Non-skateboarders have tended not to look very closely at these films. They mostly do not care. Skateboarders meanwhile care far too much to care exactly why. In any case, it’s here that an attempt toward a poetics of skateboarding must begin."



"Nor can we call such an effort unselfish. My own struggle with the mystery of skateboarding began five years ago, fifteen after I first stepped onto a board, when I began work on my second novel. The problem I encountered was that none of skateboarding’s confectionary can or should be dismissed. Speaking technically and contra Ian Mackaye, skateboarding today is a sport and a hobby both, along with countless other things: a therapy, an obsession, a conservative anti-drug. In its basic meaninglessness, skateboarding has become the tool that takes the shape of whoever’s hand it’s in."



"What in those first years had fit awkwardly into a de facto rubric of athletics—a sport to be timed and judged for athletic merit—became in the 1970s something more rhetorical. The ethos was the punk scavenging of revolution by way of repurposing. Whatever prefigurations of the object we had seen, never before had they been deployed creatively. To speak in China Mieville’s terms, what emerged was something counterposed to the comfort of the uncanny. The activity, new, unrecognized, and bounded only by imagination, was abcanny."



"While the basic spirit of skateboarding might have remained constant since the addition of polyurethane, the marketplace around it quite obviously has not. Now and once again the importance of skateboarding in our time is on the increase. Today, it is on Fox. It is on ESPN with real-time algorithms for evaluating tricks. Once more the marketplace would have us comprehend skateboarding as a sport.

We know on first glance that skateboarding, in its dominant form of street activity, stands apart from ball and net athletics. It seems uninterested, too, in velocity and stopwatch performances. But the first challenge to the rubric of sport begins even lower, at a semiotic level. You and I could, if we wanted, go and shoot lazy jumpshots on a netless schoolyard hoop, or go to the driving range and smack buckets of balls into the green void. We can take our gloves to the park and throw grounders and pop flies and apply tags to invisible runners. But for any of these to qualify as “basketball,” “golf,” or “baseball,” we would require the structure of competition and order of rules.

Systems such as these have no bearing on skateboarding, of which even the most negligible acts, no matter how brief or private, simply are skateboarding. Consider: between my home and the nearest skatepark is a well-paved boulevard with sewer caps embedded into the blacktop every half block or so. A source of joy for me is to push down this boulevard and pop tiny ollies over these sewer caps, sometimes barely scraping my tail, other times popping hard and pulling my knees up to my chest. These are not tricks proper, just ways to see and engage with the street’s reality. This is not, as athletes might call it, practice; I am not training for a future event. It is travel, yes, but the joy has little to do with the scenery or distance covered. In the purview of skate competition, this pushing down the boulevard, the single most fun I have in any given day, is not a scorable act of skateboarding. It is worth zero and it is worth everything.

In a world increasingly data-driven and surveilled, skateboarding lives beneath scoring and resists all datazation by establishing everything as a performance. It deflects the surveillance state by its primal devotion to documenting and sharing itself, monitoring every possible development, repetition, and failure. It pre-empts the onslaught of observation by embracing it. To pre-empt is to deflect, but also to admit defeat. Luckily, skateboarders are shameless—in this way, they’re the perfect actors to play the role of themselves.

Our potential heuristic now approaches what literary and cultural theorists today speak of, with a smirk, as the so-called authentic self. But a skater, whether standing on his stage, behind a camera, or at a keyboard, sees and thinks and performs precisely as what and who he is. What other memberships function in this or a similar manner? Parenthood. Romantic partnership. Citizenship. Does artistry?

***

To date, the most complete attempt to theorize skateboarding has been Iain Borden’s Skateboarding, Space and the City: Architecture and the Body (Berg, 2001). Borden, a Professor of Architecture and Urban Culture at The Bartlett, University College London, treats the activity of skateboarding as a Lefebvrian practice with a potential to become its own sort of architecture: not of construction, but by the “production of space, time, and social being.” He traces the history of skateboarding into the 1990s’ street skating movement, and speaks of the way this “oppositional subculture” rethinks architecture “as a set of discrete features and elements…recomposing it through new speeds, spaces and times.” The gears of capitalism create spaces in which behavior is prescribed and easily accounted for. Skateboarding’s opposition is thus a compositional process, partially of the individual body, which is recomposed against the “intense scopic determinations of modernist space,” and partially of a deeper critique of urban life: “production not as the production of things but of play, desires and actions.”"



"By contrast, today’s most compelling skateboarding films aim to capture not only the play of skateboarding, but enact what Borden calls the “positive dialectic that restlessly searches for new possibilities of representing, imagining and living our lives.” The “Panoramic Series” from Philip Evans, for example, relieves the actor from the full burden of attention. Here Evans follows Phil Zwijsen through his hometown of Antwerp:"



"The skater, Austyn Gillette, appears only after the environmental context, resulting in a portrait not of one or the other, but both. The subject is, as skateboarding’s always has been in practice, the interactions between city and individual body. Alongside recent work by Mike Manzoori, Evan Schiefelbine and select others, these films find energy beyond the progressive trickery of athletics, or the documentation of extant geographies. They combine the skateboarder’s practice—creative, productive—with a distinctly non-skateboarding meta-awareness of the activity’s potential for meaning. Their grounding within the geist of skateboarding is obvious: there is nothing a skater spots more quickly than the fraud, or tourist. These are films made by skateboarders who have lived within the activity’s world, and who choose to leverage the activity as a tool to understand itself. How long, they ask, must a toy endure before it becomes something else? What does it become, and does this mean it has ceased to be a toy?"



"Roberto Bolaño called surrealism “something convulsive and vague, that familiar amorphous thing.” If indeed there is ever to be a poetics of skateboarding, familiarity will have to play a role. Suvin argued that science fiction’s value lay in its ability to effect cognitive estrangement. Campbell’s film documents and creates ostranenie by the re-presentation of a familiar world as captured by, and portrayed through, the glance of the radical dreamer. In fact, what Cuatros does better than any film I’ve seen is remind us that skateboarding’s heuristic usefulness is ontological. Its topos is not that there is a world inside the world, but rather: there is a world the exact shape and texture of the world that you know laid seamlessly over top of it, and you, for some reason, fail to see how beautiful it can be.

Convulsive, vague, and conveyed by slidy looks. Campbell’s subject is our ineffable, binding thing, that lurking, trembling essence that he can only render by images and motions of the surreal. The artist whose art was born from skateboarding has made an object about skateboarding that conveys this birth and mode of being. Skateboarding infects the filmmaker infects the musicians infects the viewer. Viewer goes out skating. Skateboarding is self-perpetuating in this way. It is always itself and something else, it is infectious, it is comprehensive and sublatable to the core. This is how the infinite comes to be—once born, skateboarding can never now die.

But the dreamscape of Cuatros Sueños Pequeños is not an expression of this infinity. Rather, it is mimetic. What world is this?, asks the skateboarder. A familiar one we have seen so many times that it’s rendered unseeable. More importantly, what is to be done in it? The answer, like Campbell’s film, is incoherent, and thank goodness. The answer is anything at all."
skating  skateboarding  skateboards  quantification  measurement  urban  urbanism  surveillance  iainborden  meaning  film  video  robertobolaño  thomascampbell  cuatrosueñospequeños  performance  datazation  repetition  monitoring  failure  documentation  process  capitalism  henrilefebvre  space  place  play  culture  movement  infectiousness  inspiration  feral  ecosystems  socialbeing  time  architecture  landscape  kylebeachy  understanding  experience  robertzemeckis  pontusalv  punk  metrics  schematics  markets  poetics  filmmaking  darkosuvin  sciencefiction  ianmackaye  technology  history  circumstance  california  socal  sports  chinamieville  abcanny  zines  creativity  competition  commercialization  commercialism  commoditization  diy  systems  rules  revolution  resistance  practice  authenticity  artistry  philipevans  philzwijsen  colinkennedy  stasis  motion  austyngillette  mikemanzoori  evanschiefelbine  javiermendizabal  madarsapse  dondelillo  cities  meaninglessness  participation  participatory  democracy  tribes  belonging  identity  spirituality  social  socializati 
july 2014 by robertogreco
Pin pages to the wall and examine them with binoculars - rodcorp
"Truman Capote wrote lying down, as did Marcel Proust, Mark Twain and Woody Allen.

Charles Dickens, Winston Churchill, Virginia Woolf, Ernest Hemingway, Philip Roth, Lewis Carroll, Thomas Jefferson, Fernando Pessoa and George Sand all wrote standing up.

Roth also "walks half a mile for every page".

Roald Dahl wrote in a shed.

Philip Pullman used to write in a shed, but eventually gave it to an illustrator friend.

Umberto Eco has a converted church as his scriptorium. One floor has a computer, one has a typewriter, one in which he writes long-hand.

Haruki Murakami commutes into a city apartment in Tokyo where he writes.

After the publication of Joe Gould’s Secret, Joseph Mitchell came to the office at the The New Yorker magazine almost every day for the next thirty-two years without filing another word.

Dashiell Hammett published nothing after he was 39 - he felt he was repeating himself but never managed to find a new style he felt was good enough.

Ray Bradbury wrote an early version on Fahrenheit 451 in nine days on a rented typewriter in the UCLA library basement.

Will Self uses a wall of Post-It notes to plan and structure his writing.

Elmore Leonard writes on yellow legal pads.

Michel Faber corrected the first manuscript of The Crimson Petal and the White with house paint because he couldn't afford Tipp-Ex.

Gustav Hasford was a serial hoarder of very overdue library books, and had 10,000 of them in storage lockers.

Don DeLillo types each paragraph onto its own sheet of paper, so that he might concentrate better.

Gay Talese would pin pages of his writing to a wall and examine them from the other side of the room with binoculars.

Jonathan Safran Foer has a collection of blank sheets of paper.

Cormac McCarthy said that his perfect day is sitting in a room with some blank paper.

Ethan Canin copied John Cheever paragraphs out to learn what made the man's writing tick.

Anthony Trollope required of himself two hundred and fifty words every quarter of an hour.

J.G. Ballard, a fan of discipline in writing, prepared very long outlines and aimed for 1,000 words a day.

Walter Benjamin advocated delaying writing an idea as long as possible, so that it would be more maturely developed.

Richard Ford and his wife shot a book by Alice Hoffman, after she had given his book Independence Day an unfavourable review.

.

How I work is I recap the material from the original How we work posts [http://rodcorp.typepad.com/rodcorp/2004/12/how_we_work.html ] and the more recent links [http://pinboard.in/u:rodcorp/t:howwework/ ]."
rodmcclaren  howwewrite  howwework  richardford  walterbenjamin  jgballard  anthonytrollope  ethancanin  johncheever  cormacmccarthy  jonathansafran  dondelillo  gustavhasford  michelfaber  elmoreleonard  willself  raybradbury  dashiellhammett  josephmitchell  harukimurakami  umbertoeco  philippullman  roaldahl  philiproth  lewiscarroll  thomasjefferson  fernandopessoa  georgesand  ernesthemingway  charlesdickens  winstonchurchill  virginiawoolf  marktwain  marcelproust  woodyallen  trumancapote  writing  proust 
july 2012 by robertogreco
Why is New York's literary crowd suddenly in thrall to Hungarian fiction? | Hari Kunzru | Books | The Guardian ["this summer, a copy of Sátántangó slung casually on the cafe table is the local masonic sign of literary ambition"]
"The thing about New York (and, a fortiori, the gentrified bits of Brooklyn, where writers go when their Manhattan apartments are expropriated by the One Percent) is that it doesn't have a "contemporary master of the apocalypse". It has post-Ivy relationship anatomists, adderall-enhanced pop culture essayists, dirty realist white-guy novelists and hipster poets who transcribe their sexts and cut them up with Wikipedia entries on HPV and Jersey Shore. It has, at the last count, 247 trillion recent MFA graduates, at least a dozen of which are to be found, on any given morning, abseiling down the glassy exterior of the Random House publishing building, in an attempt to get Sonny Mehta to read their collection of short stories modelled on Denis Johnson's Jesus's Son."

"Odd as it may seem, the utopian yearning for an authentic literary culture is part of a growing current of opposition to the status quo."
culture  ows  occupywallstreet  publishing  trends  books  chadharbach  jonathanfranzen  dondelillo  translation  literaryfiction  jameswood  sonnymehta  statusquo  literature  nyc  lászlókrasznahorkai  robertobolaño  2012 
july 2012 by robertogreco
In Don DeLillo's 'Angel,' Stories Of America Alone : NPR
"DeLillo also explains that the concepts of solitude or loneliness lend themselves particularly well to the abbreviated form of the short story. "One or two characters are usually quite sufficient for the demands of a particular idea"…

The novel-writing process is lengthy & daunting…Underworld, took him 5 years to write…But crafting short fiction is just as much of a challenge…Short stories are structured differently than novels—while his novels follow a certain symmetry…stories rarely develop a pattern.

"It's one episode, usually, [with] one or two characters. The idea in most cases is to get to the end as quickly as possible."

Even when he's writing long novels, DeLillo says he never works from outlines. "Whatever I know may be in notes [or] pieces of paper that I scribble on in a subway car"…

DeLillo collects these scribbles & records them in a larger notebook that he later refers to as he writes. But sometimes when an idea strikes, he goes straight home & gets working."
dondelillo  2011  interviews  writing  howwewrite  storytelling  shortstories  books 
november 2011 by robertogreco
Why American novelists don’t deserve the Nobel Prize - Salon.com
"An American hasn't won in 20 years. The Academy finds our writers insular and self-involved -- and they're right"

"As Bret Anthony Johnson, the director of the creative writing program at Harvard, noted in a recent Atlantic essay, our focus on the self will be our literary downfall, depriving literature of the oxygen on which it thrives: “Fiction brings with it an obligation to rise past the base level, to transcend the limitations of fact and history, and proceed skyward.” This sentiment is a sibling to Wallace’s anger — and both have a predecessor in T.S. Eliot’s 1919 essay “Tradition and the Individual Talent,” where he called art “a continual extinction of personality.”"
alexandernazaryan  us  literature  novelists  writing  politics  books  nobel  2011  self-involved  insularity  jonathansafranfoer  joycecaroloates  johnupdike  thomaspynchon  philiproth  cormacmccarthy  dondelillo  davidfosterwallace  daveeggers  bretanthonyjohnson  jhumpalahiri  amytan  aleksanderhemon  826  ralphellison  tonimorrison 
october 2011 by robertogreco
Don DeLillo Biography
"This biography is largely an oral auto-biography, stitched together from the various interviews. All the passages below that are in quotes are from DeLillo himself, and the other text is from the interviewer noted below each entry."
dondelillo  biography  writing  writers  via:robinsloan  quotes  interviews 
april 2011 by robertogreco
Flavorwire » The First Real David Foster Wallace Documentary
"In the first big DFW documentary since his suicide…Geoff Ward discusses the author’s childhood, legacy, preoccupations and battles with the gentleness of a true fan but the exactitude of a scholar. On the radio missive, which first aired on the BBC on February 6, Ward interviews Wallace’s contemporaries, Don DeLillo, Michael Pietsch, editor of Infinite Jest, Wallace’s agent, Bonnie Nadell & his sister, Amy Wallace. He also mines archives of interviews w/ DFW — some of the most wonderful are with Wallace discussing irony —  & accents his ruminations & conversations w/ passages from Infinite Jest as well as the forthcoming The Pale King.<br />
<br />
If you’re a reader, a writer or even just a member of the television saturation generation, it’s worth a listen, & if you’re a fan of Wallace, the program may tug at your heartstrings, suggesting what might have been, but celebrating the man as he was…DeLillo: “I can’t think of anyone quite like him, at all…Wallace stands alone.”
davidfosterwallace  books  writing  biography  bbc  documentary  thepaleking  infinitejest  2011  markcostello  dondelillo  geoffward 
february 2011 by robertogreco
taking pictures of taking pictures - (un)filtered
"And here's what hit me tonight passing the cranes at the Port of Oakland: with all of its data, Flickr knows what, exactly, is -- quite literally -- the most photographed barn in America. Where everyone is taking pictures of taking pictures."
maps  mapping  photography  flickr  literature  dondelillo  society  culture  geography 
november 2007 by robertogreco

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