“Above all, do not lose your desire to walk. Everyday, I walk myself into a state of well-being & walk away from every illness. I have walked myself into my best thoughts, and I know of no thought so burdensome that one cannot walk away from it. But by sitting still, & the more one sits still, the closer one comes to feeling ill. Thus if one just keeps on walking, everything will be all right.”
I’m very excited to share a beautiful and concise ‘graphic essay’ on the work of Austrian writer Thomas Bernhard. The essay was written, drawn, and designed by Espen Terjesen, an illustrator, cartoonist, pixel artist, teacher/lecturer, and writer working in Bergen, Norway. In addition to the original essay, Terjesen has also been kind enough to provide me with an English translation.
Terjesen’s work not only presents themes from Bernhard’s writing with striking, icy accompaniments, but offers a playful approach to the traditional academic essay. By combining elements of literary criticism with the graphic novel, Terjesen’s reading of Bernhard becomes, in itself, a creative act. What we are left with is something both thought-provoking and accessible.
To see the strip in its original format, please find links to Terjesen’s essay at the bottom of this post. In its complete form, the essay includes a number of footnotes and recommended reading. You can click any of the images to enlarge them. Enjoy!Read More
In November 1844, Dostoyevsky finished writing his first story. He confides in Diary of a Writer that he had ‘written nothing before that time’. This was 22 years before the publication of Crime and Punishment, and 36 years before The Brothers Karamazov. Having recently finished translating Balzac’s Eugénie Grandet, he suddenly felt inspired to write a tale ‘of the same dimensions’. But he was not only prompted by artistic aspirations. Poverty also played a part. In a letter to his brother, Mikhail, just a few months earlier, he mentions being satisfied with a work-in-progress, and his hopes for greater financial stability: ‘I may get 400 rubles for it,’ he wrote, ‘and therein lie all my hopes.’
First published in 1846, Poor Folk was both a critical and financial success, with one prominent critic hailing Dostoyevsky as the next Gogol. It is a short epistolary novel that traces a five-month love affair. And while it certainly owes something to Balzac’s masterpiece, the role that money plays in determining people’s fates has a distinctly Dostoyevskyan bite. Financial difficulties plagued the Russian novelist’s career, and are a recurrent theme throughout his work, from the destitute student of Crime and Punishment to The Gambler, written to pay off gambling debts. The writer confessed having money troubles in letters to his brother, and hoped Poor Folk could offer some kind of reprieve. It is through his pen, he says, that he hopes ‘to save the whole situation’, considering suicide as perhaps his only other alternative. Money, then, was one of the novelist’s chief motivations, and one of his signature themes.Read More
In The Case for Books you wrote that ‘the explosion of electronic modes of communication is as revolutionary as the invention of printing with moveable type’. How do you feel this revolution is changing the way knowledge or information is spread?
Well, first I should say that the word ‘revolution’ is used very loosely, in general, so I said that after some hesitation. I mean, I’ve read about revolutions in menswear and revolutions in football styles of defence and so on. So, I don’t want to weaken the term. And, it’s a term that can be used in lots of different ways. But let’s say that the assertion is that the means of communication are changing as rapidly, as dramatically, today as they did in Gutenberg’s day. And, in fact, we’ve learned a lot about Gutenberg’s day: the change, perhaps, was not quite as rapid as people had thought when they refer to it as a revolution. We know, for example, that manuscript publishing continued for three centuries after Gutenberg, and really flourished. So, that’s by way of preface to what I was saying. But your question is how does this change, whether revolutionary or not, affect the way communication penetrates into society.
Well, you know, you have to just sit on a bus, or in a subway if you’re in New York, or London, or Paris and watch people with their smartphones or their various handheld devices. The phrase is sometimes used: ‘people are always “on”’. That is, they are always online, they’re always communicating. There has, I think, been a restriction of a kind of blank space in life: a time when people, so to speak, did nothing. Of course, they were never doing nothing. But it meant that there was a time in which they weren’t consciously communicating, but letting the world go by. Now, there’s a lot to be said for letting the world go by. You could sit and observe things, and maybe be exposed to surprises. But now I think there is this sense of constantly exchanging messages. Doing it all the time. That’s different, I think, qualitatively, from anything that ever existed before, even though people were exchanging gossip at the village pump. So, I think it is a very profound change in the way we live our lives, and it’s made communication and information more central than they ever were.Read More