This week's reviews:
Love & Death: Greatest Hits, which was published by Tres Chicas Books in 2011, is a collaboration between "co-conspirators, friends for over twenty-five years, and founders of Tres Chicas Books Renée Gregorio, Joan Logghe, and Miriam Sagan." The trio write about love, death, and friendship and aim to "create not just a book but a sense of community."
Love & Death: Greatest Hits is a winner of a 2011 New Mexico Book Award in Poetry.
What follows is a selected poem from the collection, written by Joan Logghe, Santa Fe's Poet Laureate.
Dark Train Pulling
You, I haven’t seen since the turn of the century.
There was a train then, always about to depart.
Or a letter traveling across Europe by rail.
A boat full of people who all looked forward
towards a better life of tailor shops and diamonds,
away from the small villages of Estonia.
In the old country, you lived in Hungary
But you weren’t Hungarian. Russia,
But you weren’t Russian. You were only a Jew
And not allowed to purchase land.
I want you like my people wanted soil.
That was the trick, my wanting and your no.
Denial works to wed a past to longing.
And now, like a promised land, you arrive.
Startling horizon, your suitcase,
something foreign stamped on the side.
A message I’ve needed all my life,
“Lose everything,” it says, “You know how.”
You arrived from the other country,
the past, dark train pulling, sparks over coal.
At death, there’s another tunnel.
Of all the faces and the bright light,
yours will still beckon towards a bliss.
My dark hair, your dark hair, an America.
|In this installment of the Visiting Scribe, Joshua Cohen and Justin Taylor exchange ideas around book promotion, materials of writing, and the devolution of the author. Read Part I of their exchange here. They will be blogging here all week for the Jewish Book Council and MyJewishLearning.
This is what I’ve come to expect from you—this level trust of gut. It’s one of your best qualities—both as a writer and a friend. And it’s a quality I frankly covet for myself. When you write that it doesn’t bother you to “use the same computer to type [your] fictions as [you] do to write [me] a note about where to lunch on Sunday,” my commonsense alert goes off and I get depressed and crawl into a corner where I smoke and drink icewater and lament my preciosity. (Both you and I know I could have used the word “preciousness.”)
So I’m chastened, but still some quivering gelatinous part of me—say, my knee—wants to maintain that there’s an element of computerwriting that somehow eludes analogizing with writers of the past using the same pen to draft both a shopping list and War and Peace Redux. The computer, for me, has always had a business aspect, or, better, what the MBAs might call an opportunity cost. It seems to professionalize me in ways that disgust. It does this by insisting, by its boxy gray existence alone, the concept that my writing might, will, one day be public. Now my conscious mind knows this, my conscious mind craves this, but I’m not sure that the conscious mind is the best of all minds, for me, to be writing with. I need to fool myself to write. To tell myself nothing matters, no one cares, I don’t care. That the desk and chair I’m describing has nothing to do not only with the desk and chair I’m occupying but with all possible desks (escritoires) and all possible chairs (Aerons) I might access online.
Not that the escritoires and Aerons haven’t helped me, but the computer compels me toward that help.
So yes, yes, our conclusion might be the same: the problem “is not with the tool but with the user.” But then the very moment I agree to agree, Heidegger jumps me with his Ge-Stell, or “enframing”: the artist makes the tool until the tool makes the artist. I fantasize, whenever I make a mess of my life, that all equanimities and pragmatisms are just technological enframings of a natural frenzy.
Here, I’ve searched it up for us: http://ssbothwell.com/documents/ebooksclub.org__The_Question_Concerning_Technology_and
This, though, is from The Discourse on Thinking:
“Still we can act otherwise. We can use technical devices, and yet with proper use also keep ourselves so free of them, that we may let go of them any time. We can use technical devices as they ought to be used, and also let them alone as something which does not affect our inner and real core. We can affirm the unavoidable use of technical devices, and also deny them the right to dominate us, and so to warp, confuse, and lay waste our nature.
“But will not saying both yes and no this way to technical devices make our relation to technology ambivalent and insecure? On the contrary! Our relation to technology will become wonderfully simple and relaxed. We let technical devices enter our daily life, and at the same time leave them outside, that is, let them alone, as things which are nothing absolute but remain dependent upon something higher. I would call this comportment toward technology which expresses ‘yes’ and at the same time ‘no,’ by an old word, releasement-toward-things.”
In Heidegger’s day I would’ve been too lazy, or too dead, to have typed this out. Thank God for copy/paste.
The German for “releasement” (indeed, Heidegger/his translators, John M. Anderson and E. Hans Freund, could have used “release”) is Gelassenheit.
That’s a good old word to repeat while waiting for the F Train at 4AM.My tone question was related, in a sense. The computer gives us so many selves, or gives us the option of being so many selves, that what’s needed—or what I need—is some variety of Gelassenheit from a core personality, or from the idea of a core personality. It’s my inability to release—let’s please release all the sex from that verb—that makes me wary of publicity. You’ve asked me to articulate a guiding policy or principle for peddling one’s own book, but that’s what I’d wanted from you—but that’s what you’ve given me. Your formulations are sound, especially this one: “Anything you’re willing to say ‘Yes’ to and actually do, you can be responsible for.”
That sounds, I am serious, like something Jesus would’ve said, had he taken a correspondence course in logical positivism.
I’ll end with the concept you find most interesting—the one I find most interesting too—at least a concept we both can address without getting too bijou philosophical or maudlin: Voice.
It’s true that voice has been troubling me lately. I seem to have become more social/engaged than ever—I have many friends, I read many things—but when it comes to writing I’ve lost any inkling of what one can assume when addressing a reader (or, for that matter, a friend). No, no, I haven’t lost that old power o’assumption—I never had it—and it’s only because I’ve become so friended and am reading so much that I’ve noticed, very recently, this lack.
Lately I’ve found myself very much taken with two ways of writing: very general and direct, not fablespeak but more like late Tolstoy, and very specific and personal/private, oblique, think diaries (Dostoyevsky’s, Pepys’s), letters (Byron’s), think of unbooks, unplanned, accidental, collations (often posthumous, often not intended for publication) of whateverthefuck by Canetti, and, oy, Kafka. Notebooks by Tennessee Williams, Ashbery. Anything in the middle reads, I was about to write “mediumsized,” but more like a sales pitch, an upsell beyond all comprehension. This might be Quality Grumbling—me complaining about contemporary writing without the skill to convince—this might even be Reality Hunger, with a side of fries, but I suspect—pace David Shields—that both those appetites are subsumable under a single rubric: we don’t know how to address one another anymore. Because maybe there isn’t an “other.” Maybe there are only fragments of a “one.” It could be that childhood, for everyone, was more whole and coherent. And that growing up is just this superdistracting superdistractible search for someone or something else. The keywords are “Sie und du,” “monoamine oxidase inhibitors,” “Saturday Night Function (Ellington-Bigard),” and “Gershon Sirota.”
Google “Gelassenheit”—the site autocompletes with “gelastic seizure”: http://en.wikipedia.org/wiki/Gelastic_seizure
“The artist makes the tool until the tool makes the artist”—this is undoubtedly true, and it complicates the argument I was trying to advance with my perhaps somewhat pat examples, but I’m not sure that my entire line of thinking is negated by the admission that the relationship between the user and what he uses is one of reciprocal modification. I don’t share your sense that the computer has an ineluctable aura of “business” about it. Growing up, there was almost always a computer in my house. I can say with something like complete confidence that I was the first of my childhood friends to ever go online—onto Compuserve, via a 14400 baud modem that we hooked into the house’s only phone line. I also played a lot of video games as a kid, mostly on consoles, because we only had one computer—it lived in the family room—and my father was very wary of any activity that might damage it (keyboards don’t stand up to punishment quite the same way Nintendo controllers do). Later, when I got my own computer in my very own room, the feeling was not unlike getting my first stereo, or, for that matter, my first little writing desk. What I mean is that it didn’t feel limiting, it felt freeing. Here was something that was all mine that I could use however and for whatever I wanted to without asking permission, waiting my turn, or having someone look over my shoulder while I did it. The computer was an extension of the bedroom itself—another space, this one virtual, over which I had exclusive dominion, could personalize after my own taste, and which expanded the range of work and play activities available to me. I’m not sure I’ve ever quite gotten over that feeling. I know so many writers who say that they can’t work at home, so they go to coffee shops, libraries, even pay to rent office space—this is a problem I’ve never had. When Amanda and I got this apartment back in February it came with a home office. This is probably the first time in my writing life that there hasn’t been a direct sightline to my workspace from my bed. A good thing, to be sure, but it’s taken a while to get used to.
None of which is to say that I’m unambivalent about the computer, only my ambivalence locates itself elsewhere than where yours seems to. My last year of high school I spent a lot of time online—in part because I was feeling very done with my hometown and in part because better technology made more things possible and I was interested in seeing what they were. I IM’ed with people I could have just as easily been on the phone with, I hung around Grateful Dead message boards looking for people to trade tapes with (cassette tapes!—sent through the U.S. mail). I downloaded lots of dirty pictures, and I played a massive-multiplayer online role playing game, where you had to team up with strangers you met in the virtual fantasy world and fight an unending battle against whatever was around. This, to me, is an example of “the tool making the user”—I felt it and could acknowledge it even as it was taking place—but I’ve switched my “user” back in for your “artist” because I’m not sure whether the re-making effect ever extended to my art. If I were writing a memoir, I might speculate at length about the effect of the computer on various aspects of my life (sexual, social, etc.) but suffice here to say that once I got to college, re-situated in a place and with a group of people I liked, whose artistic and political interests I either shared or adopted, I stopped doing most of the aforementioned online activities, because the point of all that shit had been to assuage loneliness and/or pass time, and now I had places to go and people to see.
All of which, I guess, is to say, that the computer has never seemed to me to have a developmental role in the way I make or think about my art. Rather, art is—among many other things—the arena in which I can process/analyze/interrogate the role the computer plays in the other areas of my life. Which brings us around to your book. Two of the stories in Four New Messages are explicitly concerned with the impact of the way the virtual and meatspace worlds inform each other. In “Emission,” the main character, a drug dealer, does something sleazy at a house party, which gets converted into salacious web gossip, gunks up his Google-ability, and basically ruins his life. Which is truly saying something since his life was something of a ruin to start with. I wouldn’t go so far as to say that Richard Monomian’s original transgression is in any sense redeemed or excused, but as the story progresses there is a sense that the punishment has outmatched the original crime. Though of course “the punishment” itself doesn’t seem to be purposefully delivered—it’s an unplanned side-effect of the reporting party’s use of the web as reporting medium. In “Sent” there’s a kind of reciprocal feedback between the virtual and the physical. That novella opens with what might be my favorite episode from this collection, and one of my favorite pieces of yours in general: the history of a bed from the time it was a tree in a forest, hundreds of years ago in Russia, taken through its chopping and carving and generations of ownership until it finally ends up as the “stage” for a cheap amateur (or “amateur-style”) porno that gets posted on the internet, where it’s viewed by an American manboy of our own era, who becomes so obsessed with the “starlet” he watches on the virtual screen that he decides to try and track her down in real life.
But all four stories engage with aspects of “the way we live now.” “The College Borough” is as fine a satire of creative writing-as-academic-discipline as I think I’ve ever seen. “McDonald's” attempts to resist the total penetration of our lives and selves by branding language/ideology: it goes on a kind of hunger strike from the corporate lexicon, and delirium ensues. I love the book, in no small part because it feels so straightforward—not light, per se, but certainly more inviting than your previous novel, Witz. Which, for the record, I loved very much—it was a great challenge and pleasure, on so many levels—but going from Witz to Four New Messages reminded me of DeLillo going from Underworld to The Body Artist and then Cosmopolis. Did it feel good, with the Great Big Book behind you, to get back to the story/novella form? How did you go about gathering these disparate tales together around their several central themes? If I was going to be a total shit about it, and entreat you to tell me, in your own words, what this book is “about,” what would you say? Actually, it occurs to me that I did get you to do this once before—when you were working on “Emission” and we were driving back from the reading at the Jewish book store in Massachusetts, I remember you describing the piece to me before I had ever read a draft of it, and that you said your intention was, in a limited but real sense, pedagogical. That the story would be offered in the tradition of the advice-narrative, in which the fiction illustrates a familiar contemporary problem, to which it offers both a solution and a moral. Do you still feel that “Emission” works this way? Would you say that the book as a whole does, or that it can? Why isn’t your book called “How Should a Person Be?,” or since that’s taken, “How a Person Should Be”?
Read Part III of Joshua and Justin's conversation here.
|In this installment of the Visiting Scribe, Joshua Cohen and Justin Taylor exchange ideas around book promotion, materials of writing, and the devolution of the author. They will be blogging here all week for the Jewish Book Council and MyJewishLearning.
I hope you’re doing well. I’m looking forward to the lamb spines, certainly. Sunday would be good. They’re on me, of course, of course. I owe you as much plus drinks for your help with this—this—I don’t know what this is. The Jewish Book Council has apparently read and enjoyed this new book of mine, Four New Messages—now that, after Citizens United v. FEC, a for-profit corporation can be considered a person, I feel comfortable saying that a nonprofit corporation can at least read my fiction and enjoy it enough to ask me to write a series of posts for their blog, gratis. Rather the recompense is contained in the idea that these emails-to-blogposts—a medium perhaps appropriate for the book, because the book is set, partially, on the internet—would help publicize the book, would help sell the book to the Jewish bookbuying public (who buys books? Jews, women, Jewish women). I didn’t know what to write, so I roped you out of Park Slope and into public.
Which will be, essentially, our subject.
Now I’ve read a lot of your writing—I’d guess about 4x what’s been published—and you’ve read a lot of mine—let’s agree on the same random ratio(cination). Though most of the writing we’ve sent each other hasn’t been writing-writing, but this: emails. Stuff about what, where, when, a sliver of how—the why’s always implied. In fact, if this were an email only to you and not an open crier type bellringer I wouldn’t have to explain all these facts. We’ve already discussed this exchange. We’ve agreed that you’ll be remunerated for this interlocution in lamb spines at Xi’an Famous Foods. On Sunday. Time and which among the East Broadway, Bayard, St. Marks locations (not Flushing!!), TBD. We’ve discussed, we have, the Jewish Book Council. Their cattlecall auditions that offer Jewish or Jewishish writers slots in various book or bookish events throughout the country. Their general—let’s say shepherding or herding, to continue the metaphor—of the Jewish(ish) (and Jewish[ish] female) reading public(s). We know all this. We also know what it’s like to publish and promote books—to have to promote books—and God knows you’ve given gracious audience to my own whisk(e)y philosophizing over the necessary evil of this promowork, my barstool history take on how writers even just a generation older than us never had to care much about this, really actually didn’t feel it necessary to care much about this because the book advances and criticism gigs paid high enough and living costs were lower.
Also there’s the pride or pride in art issue.
Writers were either dignified or Norman Mailer (which was another form of dignity, perhaps).
But the purpose of this email isn’t to ask you to articulate your feelings about the devolution of authorship/authority via the devolution of PR responsibilities (though if you’re so inclined, go ahead), rather the purpose is to ask you how you feel, specifically, about my writing—our writing—this.
We spend most of our days writing words, some written for an intimation of eternity that to my mind has been projected from the purview of fantasy or dream to that of technology (our writing might last forever—not because it deserves to but because of the bytes), but others written to communicate South of Union Square Chinatown food options/rescheduling due to mass transit malfunction. Yet we write them on the same platform: the computer (to be sure: I use the computer only for journalism and to edit—all fiction’s drafted by hand).
I guess I’m not asking about your process (again, unless you’re inclined to address that)—or about if/how you consider those two types of writing differently (again, again, etc.)—I’m not asking about anything that might be answered better with a sneer at preciousness or, best, the offer of a singleride Metrocard to Maturityville—rather I’m asking about registers, valences, casualness/formality, Truth. How honest should I be about my attitude toward publicity? Should my attitude change and why? What are the uses of distance and estrangement and obfuscation and plain old lying—in life? in fiction? Lastly, until you give me your lastly: Omniscient narration and dialogue in fiction are often delightful when delivered in the same “tone,” and often delightful when delivered in different “tones.” But so many books I’ve read lately—contemporary books—fail to find a convincing similarity (everything overassumes in the vernacular, or bores back to the nineteenth century) OR convincing difference (the narrations stately like Henry James but the dialogues like a scatological Hank Jim). Why is this? Do people—which is to say “nonwriters”—have the same problem “in life”?
Answer those and I’ll spring for the ribs.
Okay. You’ve thrown a lot of questions at me here, so let me describe what I’m seeing and then let’s see where we are. (I almost wrote “hearing,” because when I read your words I hear your voice in my head, but if I were having the screws put to me by the fact-checker I’d have to admit that what I hear right now is the desk fan in my office, my own keys clacking on the keyboard of my MacBook, and Nathan Salsburg’s wonderful instrumental acoustic guitar record, “Affirmed,” which I switched to just a minute ago from Hendrix at the Isle of Wight, because that was too noisy to “hear” myself think over, despite having only a minute before that having posted on my Facebook page that I intended to listen to Hendrix for “most of the afternoon.” He’s lucky if he got forty-five minutes. So much for the honest presentation of a public self.) Like you, I compose my fictions by hand and type them up later, editing as I go, then printing out again for another read-through (often aloud) and hand-written edit. This process is repeated as many times as a given piece demands. But it doesn’t bother me that I use the same computer to type my fictions as I do to write you a note about where to lunch on Sunday, anymore than it would if I were to use the same pen I was first-drafting with to dash off your address on a postcard I was sending you. I don’t see the materials themselves as inherently sacred or profane. The computer is a nexus-point for so many different parts of our lives (public, private, interpersonal, professional, political, artistic, cultural-consumptive, &c.) that historically were experienced or pursued separately and without reference to one another—as in, when you were doing thing A, you were necessarily not doing things B and/or C and/or D. It’s up to the individual, therefore, to decide what degree of simultaneity is appropriate at a given time. Just because you have the ability to watch a dirty movie clip in one browser window while leaving a birthday message on your grandmother’s Facebook page in another browser window doesn’t mean that you should. Similarly, just because you have the ability to make lunch plans or trade gossip or read “status updates” using the same device you use to edit your magnum opus does not mean that trading gossip and reading status updates is a good use of your designated Valuable Writing Time. So the problem—if there is a problem—in my view is not with the tool but with the user.
Do I think that non-writers struggle to find the right tone—the thing that will make them sound like the people they wish to project themselves as or perhaps even actually are? Sure. I think everyone’s always working to become or at any rate maintain their status as their best self. If anything, the writer (more generally, the artist) has an easier time of it, because we spend so much time practicing on these microcosmic people we create just to fuck with; we have (or ought to have) a more refined sense of how these things work.
You should be very honest about your attitude toward publicity. I’d be curious to hear you articulate it, perhaps in the form of a guiding policy or principle if you have one. I’ll give you mine, which is to mostly say “Yes” to things, unless there’s a compelling reason not to—time or dignity being the main ones. The work of writing has literally nothing to do with the work of publicizing that writing after it’s finished. I’ve never sought “fame” or a spotlight for their own sakes (and God knows haven’t found them) but when I make the decision to publish my work, I’m saying that I want it to have an existence beyond my own desktop, a public life, and if it’s going to have one I want it to have the biggest, best one possible. I don’t think there’s anything unseemly about that. They’re two different skill-sets, two entirely different and in certain crucial ways irreconcilable frames of mind. There are ways to have fun with it and ways to get through it when it’s not fun, but more than anything else, choosing to participate affords you the best possible chance of message control. Anything you’re willing to say “Yes” to and actually do, you can be responsible for. The more hands-off you are the more you’re at the mercy of somebody else’s press releases, tag lines, and surmises, or at risk of simply being ignored.
I hope I haven’t gotten too far off track here. I worry too that my instinct to be contrary, when applied to your deep ambivalence, causes me to play the wide-eyed Happy Guy. There are a lot of things about “publicity” that I hate—particularly the way young writers are taught to crave it above all other things—such as craft, discipline, and integrity. And of course I notice that the one question I shirked was the one I was most interested in—the question having to do with voice in fiction, this notion of convincing similarity versus convincing difference. Maybe you can expand a bit on your concept, or clarify how you see this question of aesthetics/mimetics relating to these notions of the public/private self, writerly or non?
|Read part Part II of Joshua and Justin's conversation here.
Joshua Cohen is the author of Witz, A Heaven of Others, Cadenza for the Schneidermann Violin Concerto and, most recently, Four New Messages (Graywolf Press). He is the New Books critic for Harper's Magazine.
Justin Taylor is the author of the story collection Everything Here Is the Best Thing Ever and the novel The Gospel of Anarchy. He lives in Brooklyn and teaches at the Pratt Institute.
The Birth of Conservative Judaism: Solomon Schechter’s Disciples and the Creation of an American Religious Movement
The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present
This week's reviews: