“Mandela’s project was political; but it has implications for many parts of our lives: for friendship, marriage, child-rearing, being a good colleague, driving a car. And of course it also has implications for the way we think about what political success involves and what a successful nation is like. Whenever we are faced with pressing moral or political decisions, we should clear our heads, and spend some time conducting what Mandela (citing Marcus Aurelius) referred to as ‘Conversations with Myself’. When we do, I predict, the arguments proposed by anger will be clearly seen to be pathetic and weak, while the voice of generosity and forward-looking reason will be strong as well as beautiful.”
The British Association for Modernist Studies has made the following announcement on its official webpage:
“Our Postgraduate Bursary Award Scheme has become the major scheme of its kind in the UK. Each year, we make significant funds available to students researching Irish-related topics at British universities. We aim to support research that uncovers new or neglected areas in the field. As an applicant, you are encouraged to produce a specific and targeted funding request, detailing how the award will support your research. Your applications will be assessed by a panel of important international academics, ensuring that this is a valuable award in more ways than one. We are keen to recognise the diversity of work taking place on Irish culture and society when coming to our final decision. In any one year we usually give bursaries to between three and six winners (sums are usually between £300–£1000). The bursaries are presented to successful candidates by the Irish Ambassador to Great Britain, at our Awards Ceremony held at the Irish Embassy in London.”
“In countries and epochs in which communication is impeded, soon all other liberties wither; discussion dies by inanition, ignorance of the opinion of others becomes rampant, imposed opinions triumph.”
I am both delighted and honoured to announce that RhysTranter.com has been selected by the British Library’s UK Web Archive “as an important part of Wales’ documentary heritage”. The site has become part of the repository’s permanent collection, where it will “remain available to researchers in the future”. The UK Web Archive is a partnership between the British Library, the National Library of Wales, and the National Library of Scotland.
“I will call Knausgaard’s kind of writing ‘itemisation’. We have, in postmodernity, given up on the attempt to ‘estrange’ our daily life and see it in new, poetic or nightmarish, ways; we have given up the analysis of it in terms of the commodity form, in a situation in which everything by now is a commodity; we have abandoned the quest for new languages to describe the stream of the self-same or new psychologies to diagnose its distressingly unoriginal reactions and psychic events. All that is left is to itemise them, to list the items that come by.”
The writer and academic scholar talks about juggling writing with family and a full-time job, his artistic influences, and his enduring interest in the work of Samuel Beckett
How did you come to be a writer?
I began writing fiction seriously near the end of my doctorate, in 2011 or so. At the time I was preparing to leave Oxford for a lectureship in Australia. The writing I did in Oxford and then in Wollongong (a coastal town in New South Wales), over summers at an archive at UT Austin, and elsewhere, eventually became a book project: Three Pioneers. I finished the project in 2013, in the UK.
The book clearly had a lag before it saw publication; it ran through a long list of publishers and agents who, when they replied at all, uniformly classed it as ‘too difficult’ or, less often, ‘too philosophical’ (I’m aware that in the vocabulary of many of these gatekeepers these are euphemisms, to put it mildly).
You ask how I ‘became a writer’. As transparently as I can, permit me to say that writing, the kind of writing we are talking about, was and remains an obscure urge for me. I am not writing, in any case, to become a ‘novelist’ or a ‘writer’ in the sense of someone who is an authority on writing, a cultural authority, or a practitioner of a certain genre; if I were, I would have written (would be writing) differently. As an academic, too, there are other routes, other forms of writing that are open to me to pursue such aims, in however limited a manner. Nor does being an ‘artist’ attract me (I will let that term remain vague). Again, I could have been an ‘artist’ otherwise, and to my mind, more directly – I could have wholly devoted myself to painting, for example, to which I once partially devoted myself.
Why write, then? What can still be called the novel, in the loosest possible sense of the term, is a way of thinking and feeling that allows me to stage problems that I otherwise find difficult to articulate. As this response perhaps suggests. (more…)
Emilie Morin’s recent book sheds light on Beckett’s engagement with cultural and political issues
Could you tell me a little bit about yourself and your research interests?
My research revolves around modernism and post-1945 literature, and the essays and books that I have published on Beckett’s work explore its relation to politics, its historical dimensions, and its Irish and European influences. I have been working in the Department of English at the University of York for over ten years.
How did you first encounter Samuel Beckett’s writing?
I must have been about fifteen, I think, when I first heard about Beckett. A friend of mine told me about a play that she had seen in which two actors were trapped in rubbish bins, and I was intrigued! Soon after I came across copies of the early absurdist plays, in the lovely Editions de Minuit versions. I was particularly struck by Oh les beaux jours, with its memorable cover featuring Madeleine Renaud stoically holding her umbrella.
It seemed to me remarkable that a whole play could be made to unfold from that situation, from that image. The author was of no concern to me then, but from that first reading I recall being convinced that the work dealt with colonialism and with colonial wars, and I remember seeing a very literal political dimension within it. The French texts have a peculiar texture; they refract much of what is unsaid about colonial history, and much of what is culturally unsayable about historical injustice, and I was sensitive to that. These were powerful impressions, which stayed with me thereafter. When I began to study Beckett’s work properly, many years later, I did so in light of its Irish literary and historical contexts, and my first monograph was a reappraisal of Beckett’s relation to Ireland. For me, the work is never abstract: it is inseparable from war memory and from the long colonial histories that it invokes. In a sense, this new book was a return to my first impressions: when I started researching, I worked on what is now the final chapter on Beckett and the Algerian War of Independence. (more…)
A call to revisit and reclaim one of the 20th century’s most important thinkers
Cynthia L. Haven’s Evolution of Desire: A Life of René Girard is the first full-length biography of the acclaimed French thinker. Girard’s “mimetic theory” saw imitation at the heart of individual desire and motivation, accounting for the competition and violence that galvanize cultures and societies. “Girard claimed that mimetic desire is not only the way we love, it’s the reason we fight. Two hands that reach towards the same object will ultimately clench into fists.”
Often a controversial figure, Girard trespassed into many different fields — he was, by turns, a literary critic, an anthropologist, a sociologist, a psychologist, a theologian and much else besides. Haven’s biography is the first book to contextualize Girard’s work within its proper historical, cultural and philosophical context. The book presumes no prior knowledge, and includes several useful primers of the texts that established his reputation: Deceit, Desire, and the Novel (1961), Violence and the Sacred (1972), Things Hidden Since the Foundation of the World (1978), and his study of Shakespeare, A Theater of Envy (1991). But it is the author’s closeness to the man once described as “the new Darwin of the human sciences” that brings this fascinating biography to life.
Haven was a friend of Girard’s until his death in 2015, and met with family members, friends and colleagues closest to him to prepare for the book. She recalls a calm and patient man who was generous with his time. “I came to his work through his kindness, generosity, and his personal friendship, not the other way around.”
He lived with his wife, Martha, on the Stanford University campus, and followed a strict working routine: “Certainly his schedule would have made him at home in one of the more austere orders of monks. His working hours were systematic and adamantly maintained.” He began his day at his desk at roughly 3:30 in the morning, broke for a walk and relaxation sometime around noon, and spent his afternoons either continuing what he had begun that day or meeting his responsibilities to students.
One of the abiding questions that drives the book is how a man who appeared to lead such a quiet and ordered life was animated by some of the most troubling themes in human history.
Adopting the lively and accessible style of an investigative reporter, Haven looks to Girard’s formative experiences for an answer. The reader is along for the ride as she drives a rented Citroën through southern France, or pores over archival images and family photographs. Her research is rich in important and surprising details, and there are entertaining tidbits of juicy academic gossip along the way.
This extract is from my review of Cynthia L. Haven’s Evolution of Desire: A Life of René Girard, published in the San Francisco Chronicle, 1 July 2018.
Reflecting on the decision to pursue my vocation in art, service, and simple living
One year ago today I made a decision to change my life. A cardiology appointment prompted me to think more carefully about my lifestyle choices, and I became motivated to start living according to values of simplicity, humility, and compassion. (more…)
Was Fyodor Dostoyevsky a true crime writer? In some sense, the answer is yes. Jennifer Wilson (The New York Times) draws attention to Dostoyevsky’s use of real-life criminal cases to critique nineteenth-century Russian society:
“[T]oday’s true crime resurgence has an antecedent in the works of Fyodor Dostoyevsky, the Russian author of numerous novels about murder including, most famously, “Crime and Punishment.” Dostoyevsky was obsessed with the judiciary. He spent considerable time watching trials, debating with lawyers about the nature of innocence and guilt, visiting the accused in prison and trying to sway public opinion about certain cases. So enmeshed were Dostoyevsky and his writing in the legal consciousness of czarist Russia that defense attorneys were known to invoke Rodion Raskolnikov, the charismatic murderer-protagonist of “Crime and Punishment,” when seeking sympathy from the jury. (more…)
In a recent interview for El País, the philosopher Jürgen Habermas addresses the social and cultural conditions that have led to the diminishment of public intellectuals in contemporary discourse:
“Q. Has the internet diluted the public sphere that supported the traditional media, which has, in turn, adversely affected philosophers and thinkers?
A. Yes. Since Heinrich Heine, the figure of the intellectual has gained in status along with the classical configuration of the liberal public sphere. However, that depends on implausible social and cultural assumptions, mainly the existence of alert journalism, with newspapers of reference and mass media capable of directing the interest of the majority toward topics that are relevant to the formation of political opinion; and also the existence of a reading population that is interested in politics, educated, accustomed to the conflictive process of forming opinions, and which takes the time to read quality, independent press.
Nowadays, this infrastructure is no longer intact, although as far as I know it still exists in countries such as Spain, France and Germany. But even there, the splintering effect of internet has changed the role of traditional media, particularly for the younger generations. Even before the centrifugal and atomic tendencies of the new media came into force, the commercialization of public attention had already triggered the disintegration of the public sphere. An example is the US and its exclusive use of private TV channels. Now, new means of communication have a much more insidious model of commercialization in which the goal is not explicitly the consumer’s attention, but the economic exploitation of the user’s private profile. They rob customers’ personal data without their knowledge in order to manipulate them more effectively, at times even with perverse political ends, as in the recent Facebook scandal.”
Rose early. Cool and clear morning. Went running around East Bute Dock (one lap). Reading Thomas à Kempis, Flannery O’Connor (her first published short story, ‘The Geranium’), and the diaries of Thomas Merton (describing his meeting with Zen scholar and practitioner D. T. Suzuki).
Robert Harrison has interviewed the American novelist and essayist Marilynne Robinson about her religious beliefs for Entitled Opinions, hosted by the Los Angeles Review of Books. Their conversation also touches on topics of grief, history, science, Freudianism, and the work of Ralph Waldo Emerson, Walt Whitman, Emily Dickinson, and Edgar Allan Poe. Listen.
Sat down and read Cormac McCarthy‘s play (or “novel in dramatic form”) The Sunset Limited. An African American man saves a white college professor from suicide, and they share a compelling dialogue about life, suffering, religion, and humanism. Sometimes McCarthy’s stage directions lack racial sensitivity and tact (e.g. “the black” vs. “the professor”), but the characters have an intelligent and entertaining critical dialogue. Dianne C. Luce offers an interesting reading of the text’s conclusion over at the official Cormac McCarthy website (contains spoilers):
“The novel’s denouement rests on the intellectual triumph of White, which ironically leads to his suicide, and the temporary rhetorical defeat of Black, who courageously recommits to his belief in the possibility of goodness. Thus the dialogue remains elegantly balanced, poised between forceful articulations of opposing views of life and human nature, giving ascendancy to neither. McCarthy seems to have no ideological agenda here, but rather he aims at capturing the internal debate of the thoughtful individual seeking to navigate the subway of earthly existence, who hears within him- or herself the competing voices of, on the one hand, empirical reasoning and world-wearying experience and, on the other, hope and the transcendent spirit.”
Overall, a genuinely engaging work struck through with darkly comic elements. Recommended.