Saturday, November 16, 2024

Jon Fosse

 


I'll be the first to admit that I'd not heard of Jon Fosse until he was awarded the Nobel Prize. Of course, I was curious, and so I recently read Aliss at the Fire. 

Praise for the novella -- which has been positioned as an entry point into Fosse's larger oeuvre -- focuses on its fragmentation: the degree to which time itself becomes a malleable thing. Fosse abandons traditional grammar in favor of another sort of fragmentation: one in which sentences run indefinitely as time is presented a force without beginning or end. And then, of course, there's the complexity of Fosse's narration, which transitions from one character to another, often in the middle of a phrase or thought. 

Who am I to critique this approach? Fosse has won the Nobel after all. 

But I must say, I found the novella to be, well, to be sort of gimmicky: the shift in perspective, or narrative tone, or time is awakening at first, but becomes predictable by the end. And more: Fosse seems to bend the concept of time, but without building three dimensional characters. For me, there were elements of Stein and Faulkner here; and yet, I felt that both American authors explored these themes with greater effect: the layered quality to Faulkner's novels, in particular, far exceeds Aliss at the Fire

I agree that there is an emotional impact to Fosse's novella, and that he is able, in very few pages, to develop a competing sense of poignancy and pain. But for me, I was never quite convinced by the style: it seemed unnecessary or strained -- like a trick that would have better served as the basis for a thought experiment than for a published work of fiction.

Musical theater history …

A smash success from the first night

Another poem …

%u201CHarbingers%2C%u201D%20by%20A.%20M.%20Juster (Hat tip, Dave Lull.)

A poem for today …

%u201CApproximately%2C%u201D%20Diane%20Ward

Tough times in NYC …

8,000 lay siege to northern end of Manhattan.

Let me live to my sad self hereafter kind …

I cast for comfort I can no more get

Monday, November 11, 2024

Rachel Cusk

 


I've now finished the third of Rachel Cusk's "Faye" novels, Transit. And let me say at the start: this novel, like the others in the trilogy, is excellent: I mean absolutely excellent. (I read the novels out of order.) 

Part of what I liked so much about Transit -- and Outline and Kudos -- is that it occupies a rare literary space: it auto-fiction without the narcissism. It is a book about questions: about how we pose them, and what we expect to hear or receive in response. 

If Cusk is the main character in this experiment, that seems secondary: because her role in the novel is primarily to listen, and to endow conversations -- as I've written on the blog before -- with a universal quality. That is magic of Cusk: her ability to transcend the banal, to mold it into something great, with a lesson to impart. 

What Transit is about exactly is not the point: you might say it is a novel about transitions, about spaces, about homes, about London, about loss. And all of these themes are indeed addressed. But they're explored less by way of character, and more by way of memory, discussion, and reconnection.

In Transit -- more than in Outline or Kudos -- Cusk orients her reader: she is in London; this is her builder; his name is X; he is this way or that. But now having read a few of Cusk's novel, I know that these details are less important than what the builder recounts to Cusk and how she structures those remembrances. This is a novel in which each section, each chapter, represents the transformation of the ordinary into something weighty, something transcendent.

It had been a while since a trilogy like this caught my attention, but these three novels are exceptional: they demand thought and reflection, and a new way -- it is no exaggeration -- of processing literature. 

We are the dead …

And now we lie in Flanders fields

Blogging note …

I am awaiting the arrival a nurse and may be taken to the hospital. So I may not be posting today.

Thursday, October 31, 2024

A poem

Living With An Ogre My man's like living with an ogre I think: “Let's get romantic. I'll just make A candle out of some of my ear-wax.” It's laughable, that's just my take. I sit on the couch like a Chinese princess. He lumbers in, dick and beer in hand. He grabs me and throws me over his shoulder Yeah, well he's an ogreish kind of man. It's November, our pear tree has tiny little pears Its twisted branches are otherwise bare. It's like our love, there's nothing left But love's fruit hanging in the air. Jennifer Knox

The other day …

I found myself in the L section of the dictionary

Wednesday, October 30, 2024

A poem …

Living With An Ogre My man's like living with an ogre I think: “Let's get romantic. I'll just make A candle out of some of my ear-wax.” It's laughable, that's just my take. I sit on the couch like a Chinese princess. He lumbers in, dick and beer in hand. He grabs me and throws me over his shoulder Yeah, well he's an ogreish kind of man. It's November, our pear tree has tiny little pears Its twisted branches are otherwise bare. It's like our love, there's nothing left But love's fruit hanging in the air. What will it be, my sweet daddy ogre? You don't love my poems, you're glad when they're over.

One bright morning in Chicago …

Why that dude’s older than Cheerios

Monday, October 21, 2024

Remembering …

 … https://youtube.com/watch?v=Xny7G9YrrBU&si=72YZ_VrK1v0oa-bK

Mitzi Gaynor at her best.

George and Weedon Grossmith

 


When it comes to The Diary of a Nobody, all I can say is: if it's good enough for Evelyn Waugh -- and evidently it was -- then it's good enough for me. This novel by the Grossmith brothers, George and Weedon, is everything a playful book should be: mischievous, comical, enlightening. But more than that: Diary of a Nobody is very well conceived: it's perfectly written, with a rhythmic style very much of its time. No surprise that Three Men in a Boat, another work of similar scope and ambition, was published within a year of Nobody

What I enjoyed most about Nobody -- beside is humor and wit -- was the question it seems to pose just before the surface: which is whether the Victorian fashion for published diaries had to be limited to those of social elites. Here is an upper middle class family -- with the habits and preferences to suit. And yet, in the predictability of their daily routine, in the formulaic nature of their aspirations, there is an epic quality. The Grossmith brothers have done two things very well: first, they have endowed middle class life with humor and levity, without demeaning that life; and second, they have positioned middle class tropes and hopes as items worthy of publication. 

Diary of a Nobody is, of course, just that: but that seems to be exactly the point. This nobody -- this Mr Pooter -- is endlessly interesting and comical and human. Which is the moral, perhaps: humanity can be comical and serious at the same time. Embracing these in equal measures results in the sort of illumination you might otherwise expect from a 'somebody.'

Gathering leaves …

 … And who’s to say where the harvest shall stop?


Friday, October 18, 2024

Blogging note …

 I am moving back to my apartment today. Blogging will resume afterwards.

Tuesday, October 15, 2024

A poem …

 I love you, dying man under a train,

Your pretty, pretty face bored with ennui.

I won't think: “Can I save you from this dream?”

My love is like a moth flying near flame.


I love you bug that always goes upside-down.

I will keep righting you and righting you.

You are like my pretty, pretty beau.

Who thinks of his demise at slightest let down.


He has died, but maybe he was right.

Maybe things should be perfect beyond belief:

Gorge on ambrosia and filet mignon,

While climaxing wonderfully all day and night.


Yes, everything should be perfect beyond belief.


Or maybe not being bothered easily is key.


Jennifer Knox

People need to rise early …

 … His brightness seldom lasts the day through


Interesting indeed …

… Poem by Diane Sahms-Guarnieri - oddball magazine.

Departed …

 … All, all are gone, the old familiar faces.