"I couldn’t talk about it, because the slightest intrusion into the book, the slightest ‘objective’ opinion would have erased everything, of that book. […] The illusion one has—entirely correct—of being the only one to have written what one has written, no matter if it’s worthless or marvelous. And when I read my reviews, most of the time I responded to the fact that people said it was like nothing else. In other words, that it reconnected with the initial solitude of the author.”
We’re not quite sure what IDEOLOGIE ("a triumph of style") is, but we have it (and kinda dig it): "A spectre is haunting the world—-the spectre of fashion. All the powers of white magic have entered into an unholy alliance to exorcise this spectre, to capture it, to learn to cast a glamour. Where is the opposition that has not hurled back the branding approach? In warfare, one’s helmet should have a panache. What we lack in veracity, we make up in ideologie." Compadres of n+1.
Just arrived: the first English translation of Pasolini’s revolutionary screenplay for his unmade film about the life of St. Paul, from Verso. Pairs well with Piketty, Agamben, or that vintage Ocean Pacific swag you nabbed at Buffalo Exchange.
Writing novels allows the novelist to spend much of his time in a fictional world, which is really the only or at least the most bearable place to be. This means that he can live in the realm of what might have been and never was, and therefore in the land of what is still possible, of what will always be about to happen, what has not yet been dismissed as having happened already or because everyone knows it will never happen. The so-called realistic novelist, who, when he writes, remains firmly installed in the real world, has confused his role with that of the historian or journalist or documentary-maker.
I cannot help but wonder, in the middle of our Summer of Struggle, whether the defense of the purely fictional against remaining “firmly installed in the real world,” isn’t oblique commentary on the fictionalization of lived experience, emblematized most recently by The-Norwegian-Who-Shall-Not-Be-Named?
"Words, Don’t come easy," reads the front inside flap of the latest, Spring 2014, issue of F.R.David. A biannual* journal published by de Appel arts centre in Amsterdam, and edited by designer/writer/artist Will Holder with Ann de Meester and Dieter Roelstraete, F.R.David is “concerned with the management of reading and writing in contemporary art practice,” which to reader-me is something of a misnomer, sounds like a grant-money line. I’d say it’s more about language as is it connects to the visual: words as objects, words as image-making (like, in the mind’s eye, like poetry), and words as used to describe, interpret, etc. the visual, art.
CLOG is a quarterly journal of architecture. Each issue looks at a specific theme from multiple points of view and through various means. This means introductory glossaries as well as critical essays, short and long form work, and as much attention paid to visuals as to text. The idea is to provide a well-rounded but precise and contained take on a given topic. Past topics have included Miami, Apple, Sci-fi, and Brutalism. The latest is on Rem Koolhaas. The one just before that is Prisons.
Fiona recommending the journals F.R. David and CLOG, both stocked at our shop, at ALLDAYEVERYDAY. Read more here and here.
We’re so very looking forward to a cool evening next Wednesday with literary BFFs Emma Straub and Edan Lepucki. Straub’s new novel, The Vacationers, is Cristin’s “new favorite book for grownups,” and “the book girls in cute sundresses will be reading on the subway all summer” (true!). Meanwhile, Lepucki’s debut, California, has quite a few fans, too, including Sherman Alexie and Steven Colbert. Frozen piña coladas and post-apocalyptic-strength sunscreen optional.