Rhys Tranter is a writer based in Cardiff, Wales, UK. He is the author of Beckett's Late Stage (2018), and his work has appeared in the Times Literary Supplement, The Spectator, and a number of books and periodicals. He holds a BA, MA, and a PhD in English Literature. His website RhysTranter.com is a personal journal offering commentary and analysis across literature, film, music, and the arts.
Delighted to see that my review of Cynthia Haven’s Evolution of Desire: A Life of René Girard is included among the San Francisco Chronicle‘s Year in Review: The Best Books of 2018.
“Kuwaiti authorities have banned a book by Russian literary giant Fyodor Dostoyevsky, one of nearly 1,000 titles blacklisted at a festival which opened Wednesday in the Gulf state.
Saad al-Anzi, who heads the Kuwait International Literary Festival, told AFP the information ministry had banned 948 books including Dostoyevsky’s The Brothers Karamazov, a novel set in 19th century Russia that explores morality, free will and the existence of God.
Dostoyevsky joins a growing list of writers banned in the relatively moderate Gulf state, where a conservative trend in politics and society is rising.
More than 4,000 books have been blacklisted by Kuwait’s information ministry over the past five years, including Victor Hugo’s “The Hunchback of Notre-Dame” and “One Hundred Years of Solitude” by Colombian author Gabriel Garcia Marquez”
“In 1983, the publisher Einaudi asked [Primo] Levi to translate Kafka’s The Trial. Infinite interpretations of The Trial have been offered; some underline the novel’s prophetic political character (modern bureaucracy as absolute evil) or its theological dimension (the court as the unknown God) or its biographical meaning (condemnation as the illness from which Kafka believed himself to suffer). It has been rarely noted that this book, in which law appears solely in the form of trial, contains a profound insight into the nature of law, which, contrary to common belief, is not so much rule as it is judgment and, therefore, trial. But if the essence of the law – of every law – is the trial, if all right (and morality that is contaminated by it) is only tribunal right, then execution and transgression, innocence and guilt, obedience and disobedience all become indistinct and lose their importance. “The court wants nothing from you. It welcomes you when you come; it releases you when you go.” The ultimate end of the juridical regulation is to produce judgment; but judgment aims neither to punish not to extol, nether to establish justice nor to prove the truth. Judgment is in itself the end and this, it has been said, constitutes its mystery, the mystery of the trial.”
— Giorgio Agamben, Remnants of Auschwitz: The Witness and the Archive.
“This is a superb biography. Yet it begins in the most inauspicious place. It is 1964, and Saul Bellow has just become absurdly rich and famous. His struggle, doubt, grit, immigrant story, artistic dreams — all were told in Volume 1 of Zachary Leader’s biography, To Fame and Fortune. Here in Volume 2, Love and Strife, the novel Herzog is published on the very first page and reaches “No. 1 on the best-seller list, supplanting John le Carré’s The Spy Who Came In From the Cold.” Never again would Bellow, about to turn 50 years old, lack for wealth, power, awards or flunkies to stand by him, ready to take his coat and do his bidding. The temptation for someone in his position was to become an insufferable, spoiled monster.”
A new documentary on the fantasy and science fiction author Usula K. Le Guin explores the evolution of her writing and the ideas that shape and define her work. Source: Bust.
“I’m the kind of person who jumps around when he talks because everything is connected.”
— Wayne Shorter, qtd. in The Washington Post
The editors of The New York Times Book Review choose the best fiction and nonfiction titles this year.
“Detractors of new poetry make judgments about craft based on conservative assumptions about poetic traditions, forms, style. But radical aesthetics have their own craft and traditions, formed from intersecting political and linguistic concerns. So this isn’t a question of craft at all. Tremain and others might more accurately say that poetry is rapidly changing. And although it has always changed, recent new voices have radically altered the landscape of poetry – for some, beyond comfortable recognition. What no one dares to say aloud is who these new poets are and why they are such a threat to the supposed status quo.”
“The age of the sequel is over. Now it’s the age of the sequel to the sequel. Also the prequel, the reboot, the reunion, the revival, the remake, the spinoff and the stand-alone franchise-adjacent film. Canceled television shows are reinstated. Killed-off characters are resuscitated. Movies do not begin and end so much as they loiter onscreen. And social media is built for infinite scrolling. Nothing ends anymore, and it’s driving me insane.”
In With A Side of Knowledge, a podcast from the University of Notre Dame, Marilynne Robinson talks to Ted Fox about her novel Gilead, and shares her thoughts on faith, meaning, and the writing process.
“Jacques Derrida is widely regarded as the most important French philosopher of the late twentieth century. Yet when his name was put forward for an honorary degree at Cambridge University in 1992, a significant portion of the Anglo-American philosophical establishment was outraged. Eighteen philosophers from nine countries signed a letter to The Times opposing the award on the grounds that Derrida’s work consisted of “tricks and gimmicks similar to those of the Dadaists or of the concrete poets” and amounted to ‘little more than semi-intelligible attacks upon the values of reason, truth, and scholarship’. Understanding Derrida’s legacy, then, must also involve understanding why he should have been the target of such vitriol.”