“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”
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…)
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.
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…)
“As prompts for the actors, Malick shared representative works of art and literature. For [Ben] Affleck, he suggested Fitzgerald, Tolstoy, and Dostoevsky. (Affleck read Martin Heidegger on his own, having known that Malick had translated one of the German philosopher’s works as a grad student.) For [Olga] Kurylenko, he also recommended Tolstoy and Dostoevsky — specifically, Anna Karenina, The Brothers Karamazov, and The Idiot. ‘Those books were, in a way, his script,’ she says. But he did more than give the actors the books; he suggested ways to approach the texts and characters to focus on. So, for example, he recommended that Kurylenko read The Idiot with a particular eye on two characters: the young and prideful Aglaya Yepanchin, and the fallen, tragic Nastassya Filippovna. ‘He wanted me to combine their influences — the romantic and innocent side, with the insolent and daring side. ‘For some reason, you only ever see that combination in Russian characters,’ he said to me.'”
“For a sixteen-year-old, it is an ambitious and serious library, comprising poetry, philosophy and translated classics, mostly affordable Everyman, Oxford and Penguin editions, those early-twentieth-century projects in the democratization of knowledge. The photograph is not well lit, but the large numbers on the spines of the Everyman volumes allow the identification of several of them. The key writings of Plato, St Augustine, Hobbes, Spinoza, Rousseau, Locke, Kant and Descartes are represented, as are Russian classics such as Dostoevsky’s Crime and Punishment and Tolstoy’s War and Peace. There are no English novels, nor is there any Shakespeare, but there are collected works of poetry by T. S. Eliot, Wordsworth, Tennyson and Keats. Books such as Euclid’s Elements point to Coetzee’s ambition to become a mathematician, though Marx’s Das Kapital may have been less influential. Several of these books would leave their mark on the later fictions, although important future influences such as Pound, Beckett and Kafka are not as yet present.”
Woke early this morning but did not get up straight away. Lay in bed for some time and watched the light move gradually across the wall. A beautiful day. After a light breakfast, Jennifer and I went cycling around Cardiff Bay barrage. We found a bench overlooking the water and talked for awhile. Bright blue cloudless sky.
On returning, I settled down to read a few articles and blog postings. One of the finest literary blogs around is Cynthia Haven‘s The Book Haven, hosted by Stanford University. The site covers a rich variety of topics in a lively and accessible way, and includes reviews and interviews alongside thought-provoking essays. In addition, Haven is alert to the political and cultural turmoil that continues to shape contemporary American consciousness. In a recent post, she draws on the words of American writer James Baldwinto examine how literature can lead to greater empathy and understanding between people and communities:
There’s a direct line between our moral and social crises and the collapse of the humanities. […] Here’s one reason: literature is our chance to explore the world of the “other,” to enter into some head other than our own. You can’t read The Brothers Karamazov without being able to understand multiple ways of living and thinking in the world, and some quite alien to one’s own p.o.v. That’s precisely what’s lacking in today’s public life, and that’s the understanding that should have been grounded in our educational system.
James Baldwin put it in his own insightful way: “You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people.”
“[…] Dostoevsky wrote fiction about the stuff that’s really important. He wrote fiction about identity, moral value, death, will, sexual vs. spiritual love, greed, freedom, obsession, reason, faith, suicide. And he did it without ever reducing his characters to mouthpieces or his books to tracts. His concern was always what it is to be a human being—that is, how to be an actual person someone whose life is informed by values and principles, instead of just an especially shrewd kind of self-preserving animal.”
— David Foster Wallace, ‘Joseph Frank’s Dostoevsky’