Many wishing to make sense of wars in their own time have reached for The Iliad. Alexander the Great, perhaps the most flamboyantly successful soldier in history, slept beside a copy annotated by his tutor, Aristotle. “He esteemed it a perfect portable treasure of all military virtue and knowledge,” according to Plutarch’s biography. Simone Weil’s essay, “L’Iliade ou le poème de la force”, published in 1940, holds that “the true hero, the true subject at the centre of The Iliad is force”, which she defines as “that X that turns anybody who is subjected to it into a thing”. (more…)
A call for papers from the European Society for Literature, Science and the Arts (SLSAeu):
This year’s conference is dedicated to the theme of Scale. In one way or another, scale is an issue deeply embedded in every discipline and every aspect of scholarly and scientific research. As the Call for Papers puts it, in the grand scheme of things Scale is the scheme of things itself. We do very much hope, therefore, that you will be as excited by the prospect of an interdisciplinary conference on Scale as we are. We are very pleased that the location of the conference will be Malta, an island in the middle of the Mediterranean with a rich history and culture, where effects of scale have exerted intriguing and complex energies for centuries, and which provides a particularly fitting and appealing venue for this year’s event. (more…)
A promising new title from Zero Books: ‘David Winters has quickly become a leading voice in the new landscape of online literary criticism. His widely-published work maps the furthest frontiers of contemporary fiction and theory. The essays in this book range from the American satirist Sam Lipsyte to the reclusive Australian genius Gerald Murnane; from the distant reading of Franco Moretti to the legacy of Gordon Lish. Meditations on style, form and fictional worlds sit side-by-side with overviews of the cult status of Oulipo, the aftermath of modernism, and the history of continental philosophy. Infinite Fictions is indispensable reading for anyone interested in the forefront of literary thought.’ [Read More]
For a taster of David Winters’ writing style, take a look at his website, http://davidwinters.uk
At the end of a summer rich in events on Samuel Beckett, scattered largely between Dublin, Belfast and Enniskillen, academic research was encouraged in October with the publication by Cambridge University Press of the third volume of the writer’s correspondence. As in the previous volumes, Beckett’s statements about his own work, as well as the many intertextual references expanded on in the dense notes appended by the editors, demonstrate the scholarly value of the publication, which will become a primary resource especially for young researchers with no opportunity to explore public archives and private collections on both sides of the Atlantic. It is Beckett’s mocking depiction of intellectual life, however, rather than the crowded web of literary and artistic influences, that strikes the general reader and ensures that the letters are an enjoyable, rather than purely informative reading experience: “On m’a demandé un livret d’opéra bouffe! J’ai écrit une ligne – ‘J’ai pas envie de chanter ce soir’ – puis j’ai renoncé.” (“I have been asked for a libretto for a comic opera! I wrote one line: ‘I don’t feel like singing tonight’. Then I gave up.” SB to Jacoba Van Velde, 12.04.1958; in LSB III, 130-131). This trenchant tongue doesn’t appear to spare Beckett himself. In the same letter he declares, exhausted: “Il y a deux moments qui valent la peine, dans le travail, celui de la mise en route et celui de la mise en corbeille” (“There are two worthwhile moments in my work: the opening up and the basketing”; ibid.). This is just one of the many accounts of Beckett’s distress when facing the creation of new work, something that continues to spring at the author from the white page itself even during the years of his belated success.
I met Lois M. Overbeck, research associate at Emory University and general editor of The Letters of Samuel Beckett, to discuss the series, which is now approaching its conclusion. The interview took place just a few days after a public lecture given in Reading by Dan Gunn, professor at the American University of Paris and editor of the Cambridge collection, and before a reception at the Irish Embassy in London, which hosted a reading of the letters given by Barry McGovern. (more…)
This is not the Booker Prize. Let’s remember that. This is something quite different. The idea of an award named Not the Booker Prize is cheeky: it playfully challenges the prestigious honour of the Booker with a counterfeit alternative, an imitation of the real thing. Or is that going to far? I would suggest that the Not the Booker Prize is not so phoney after all: it simply awards on the basis of different values. Here, we are not looking for books that fit snugly on canonical shelves. Not the Booker Prize is our chance to praise new and alternative voices, writers that colour outside the lines.
With this in mind, what could be a more appropriate winner than Lars Iyer’s Spurious? The clue is in the title, surely. Beautifully awkward and wilfully absurd, Spurious is a short, funny text that celebrates the lowdown and the everyday. If we are feeling generous, we might compare its two protagonists with any number of other haplessly comic duos: Withnail and I immediately springs to mind, or Flaubert’s Bouvard et Pécuchet, or Samuel Beckett’s Mercier and Camier. But we’re already getting off the point – already lunging towards the classics and forgetting what draws us towards Iyer’s book in the first place. If we want texts of high-standing and lofty repute, we already know where to go. But the exchanges that comprise Spurious are something of an antidote, deflating egos and popping grandiose ideas. It’s a book that is, paradoxically, both below and above literary prizes and trinkets. What better candidate, then, for such a mischievous award?