“What comes clear in interviews with more than two dozen former friends and colleagues from the various Factory spaces is that, from the start of a career that ended with his premature death at 58, the rabidly ambitious and deeply needy Warhol marshaled all that was paradoxical in his nature and put it to the service of the sustained piece of performance art that was his public self.”
“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.”
Rachele Dini discusses how the work of J.G. Ballard, Don DeLillo, and Samuel Beckett engages with one of the most pressing environmental issues of our time
What motivated you to write Consumerism, Waste, and Re-Use in Twentieth-Century Fiction?
Well, I’ve been attracted to remnants of different kinds since I was very little, and was obsessed with cutting up magazines as a teenager—but intellectually, the turning point for me was during my MA at King’s College London. I noticed almost immediately that the texts on the modules I was taking were unusually concerned with fragments and fragmentation. Dickens, Zola, Eliot, Elizabeth Bowen, Fernando Pessoa, Virginia Woolf, Ballard, Calvino, and of course Walter Benjamin and Adorno: physical and metaphorical waste proliferates in all of these authors’ work. In hindsight, this was to be expected since the course focused on the seismic effects of capitalist modernity, and waste is certainly one of these. But that focus on residual matter reproaching you for throwing it away, or on things not working and stuff falling apart, especially compelled me at the time, since it was the opposite in every way from the focus of my day job in market research. Market research is an industry essentially devoted to promoting the very things that leftist theory denounces: its modus operandi is to find ways of selling more. So the first spark for the PhD project that ultimately turned into this book was the conflict between the rhetoric of ‘harder, better, faster, stronger’ (to quote Daft Punk) I was accustomed to in my working life, and all of the countercultural—or simply denunciatory—writing I discovered through my studies, which called that rhetoric into question. (more…)
Michael Lackey on the popularity of the biographical novel, and what it can tell us about the relationship between literature, history and truth
What motivated you to write The American Biographical Novel?
Through my reading of biographical novels, I noticed a shift in the nature of literary truth. In Heart of Darkness, Joseph Conrad illuminates the colonial mentality that enabled Europeans to plunder Africa and to abuse Africans with impunity. Conrad represents that mentality through Kurtz, and as the narrator says, “all Europe contributed to the making of Kurtz.” In essence, if we want to understand the European mentality that justified colonization and its horrific outcomes, we can look to Kurtz for some answers. But with the rise of postmodernism, there has been growing skepticism about the traditional literary symbol.
Put simply, postmodernists question the value of an overarching truth claim, because they realize that someone constructed that truth for an ideological or political reason. This approach to truth impacted the traditional literary symbol, so a postmodernist could easily say: “Look, Joe, you constructed the character of Kurtz in order to promote your own ideological agenda. Therefore, I don’t see any reason why I should consider a character like Kurtz as symbolic of the European mind.”It is my contention that biographical novelists were becoming increasingly aware of the problems with the traditional literary symbol, but they also did not want to get rid of the literary symbol, because they realized that it could be effectively used to expose the structures and conditions of oppression. (more…)
The second installment of The Directors Series’ examination of the films and careers of Joel and Ethan Coen. This half-hour documentary covers the Coens’ trio of “retro-surreal” period pictures made in the early 1990s: Miller’s Crossing (1990), Barton Fink (1991), The Hudsucker Proxy (1994).