Showing posts with label Literary criticism. Show all posts
Showing posts with label Literary criticism. Show all posts

Sunday, July 30, 2017

Pat Walsh's "A Rebel Act": Book Review

A Rebel Act: Michael Hartnett's Farewell to English
This biography covers all of this Irish poet's life and career. The subtitle may lead one to believe it's only about the period roughly from 1975-84 when Michael Hartnett's decision to no longer publish his poetry in English gained attention among Ireland's poetry, literary, and critical circles. But the tenth of the book devoted to this phase shows its importance and duration within the poet's 58 years.

Pat Walsh must have read everything ever mentioning Hartnett. His documentation records his consultation of the poet's manuscripts and notebooks, interviews, and press coverage down to quite rare small press publications or ephemeral journalism. He lets the poetry, the poet, and his contemporaries tell as much of the story as possible. Generous excerpts from Hartnett's verses, his own writings beyond poems, and his radio broadcasts also deepen any reader's appreciation of his work. Furthermore, while Walsh tends to stay in the background more as diligent compiler than as a critic with his own take on this difficult-to-categorize man, he judiciously includes criticism which calls Hartnett to task when warranted. For not all of his verses are up to the high standards of his best.

Complementing literary criticism produced on Hartnett, this fuller depiction of a dapper, erudite, coruscating, and forthright poet and presence during the 60s through some of the 80s reveals a deep care for the state of Ireland, regarding its heritage, its commitment or lack of to its long-denigrated "first official language," and Hartnett's determination to demonstrate by his own action his nuanced understanding of not only a language but a way of life and a manner of living and thinking which, for many in his Dublin audiences hearing him declaim his poems, must have been received with a mixture of reactions. Today when national identity, ethnic roots, international treaties, and corporate domination have markedly increased since Hartnett's era, this 2012 study is timely and trenchant. (Amazon Britain + US 7/30/17)


Thursday, May 25, 2017

Elif Batuman's "The Possessed": Book Review

 The Possessed , Elif Batuman (2010)
These garrulous 2010 anecdotes of this Stanford graduate student document how Russian literature permeates the imagination of her peers and mentors. It also shows how unhinged, conniving, and silly academia can be. Nothing new there, but Elif Batuman is also an intellectual, as her Harvard undergraduate preparation shows. She also displays her determination to market herself then as now.

Cadging grants for specious research into Tolstoy's death sets in motion one chapter. Another, the most coherent and slightly less rambling, precedes that in demonstrating how to pitch Isaac Babel in more appealing form than a display of manuscripts in the Stanford library. Here, you get the best example of how Batuman examines herself in relation to her young life's pursuit. She thinks of literature as "a profession, an art, a science, or pretty much anything else, rather than a craft." The tell-tale "pretty much..." signals her habitual preference for the chatty over the sober in her scholarship. It's present, but until the last essay analyzing Devils (fka "The Possessed" itself, it prefers to soft-sell the lit-crit for a coming-of-age assemblage of journalism originally appearing in separate form. It shows. Some information repeats, and the Samarkand stint that's interspersed with the Russian-oriented entries makes the collection lurch about, even if she also links events and thoughts together in revised sections. It's ambitious, and it's certainly more readable, if loquacious.

She's attempting to align her dissertation about "big" novels and the way that they try to make the author's life resemble his or her beloved fiction, as with Don Quixote. "The novel form is 'about' the protagonist's struggle to transform his arbitrary, fragmented, given experience into a narrative as meaningful as his favorite books." Many who do create out of this tension attempt and perhaps fail to answer some of her big "different, insoluble" questions: "Why were people created? Why are all people unhappy? Why are intellectuals even unhappier than everyone else?" No answers emerge.

What energizes Batuman she finds repeated in a reconstructed palace of ice, "the monstrous crystallization of the anxiety that made authors from Cowper to Tolstoy to Mann cancel out their most captivating pages: the anxiety of literature, that most solitary and time-consuming of arts, as irremediably vain, useless, and immoral." This is livelier than much of Harold Bloom, I do confess.

Some of the best parts show off Batuman's eye and ear. Natalie Babel turns "with the expression of a cat who does not want to be picked up." Another woman "spoke in a head voice, like a puppet." One more "chanted in a half-pleading, half-declaratory tine, like somebody proposing an hour-long toast." And, a "few times I saw a chicken walking about importantly, like some kind of regional manager."

As a critic, she attempts to push her education into the greater world, through an extended stay in Samarkand. Her own quest to see if her Turkish fluency and her Russian fascination overlap as she tries to learn Uzbek flounders, for "that didn't make it a reconciliation between the two. When you studied Uzbek, you weren't learning a history or a story; all you were learning was a collection of words. And the larger implication was that no geographic location, no foreign language, no preexisting entity at all would ever reconcile "who" you were with "what" you were, or where you came from with what you liked." A different type of anxiety of influence lurks within this outcome.

When she applies Rene Girard's theory, we return to the diligent doctoral candidate. "According to Girard, there is in fact no such thing as human autonomy or authenticity. All of the desires that direct our actions in life are learned or imitated from some Other, to whom we mistakenly ascribe the autonomy lacking in ourselves." As with ads that feature the beautiful or handsome possessor of the bottle of vodka, this supposed freedom that owner displays means that we are driven not "to possess the object, but to be the Other." This discourages her. Why not stop our pursuit? One novel would be all we needed to disabuse our self from illusion. Love and ambition, what Augustine posited as the "basic premises of literary narrative," would prove failures. Who needs any more scholars "in a world where knowledge, learning, and the concept of difference turned out to be a mirage?" Still, she ends the final entry by claiming if she did it all over, she'd "choose literature again. If the answers exist in the world or in the universe, I still think that's where we're going to find them."

Does this book of occurrences and contemplation succeed? It left me interested in Batuman's argument. It also left me somewhat bemused by her privilege (daughter of medical professionals, Jersey suburb, elite education, and a seeming knack at finagling her way into gaining funds), for she adapts the position of a six-foot-tall misfit. She cannot have been all that inept. I think she bobbles her attempt to parallel her unwieldy structure to Eugene Onegin's "strange appendix that doesn't make sense until later, out of order" but at least she tries to bridge the gap between the common reader seeking insight and entertainment, in what could have been a tired trope, the long march to the Ph.D.
(Amazon US 5/9/17)

Wednesday, May 3, 2017

Alex Beam's "The Feud": Audiobook Review

The Feud: Vladimir Nabokov, Edmund Wilson, and the End of a Beautiful ...
Fame came to Nabokov with Lolita as it ebbed from Wilson after his brief notoriety for the then-racy Memoirs of Hecate County. The two "frenemies" wound up as such, Alex Beam reasons, when the wealthy Russian exile found his comfortable critical and financial perch far above that of the also privileged Wilson. The neediness the emigre expressed to the the literary lion, Beam concludes, had made Vladimir uneasy decades later, and Wilson's attempts to speak truth to the power that became enshrined in VN led EW to try to hold his ground, and lash out, but VN gave better than he got back.

The titular feud began as VN's massive translation-commentary on the supposedly, to Nabokov, untranslatable Eugene Onegin by Alexander Pushkin appeared. Reviewing in the then-nascent NYRB, Wilson, an earnest devotee of Russian but a progressive who sided with the Soviets, rankled the refugee who recalled the Bolsheviks machine-gunning the ship young VN fled on. Not to mention that the Soviets did in his father. So, Beam steadily narrates (via Robert Pullar's at-first hesitant, than warming up to wit in over five hours that felt due to their detail much longer) the trajectory that lifted up VN and drove down EW, after many years of erudite friendship and intellectual banter and support

That support wavered, Beam shows, well before the Onegin fracas that consumed many of the literati of the mid-1960s. EW had little patience for the likes of Lolita; VN. Beam avers, would have had as scant interest in Patriotic Gore, Wilson's in-depth study of the Civil War. Beam introduces each protagonist, documents their alliance, and then dissects their falling out. He keeps the pace lively in spite of dense material. He employs "kiss off" twice, "kooky," and "frenemy" alongside "booted" and "contumacious" and he enjoys the wit that his subjects naturally delighted in as they conducted what VN typically if obliquely given his prickly nature early on called a "friendly" exchange. And it's fun to imagine as some playful Nabokovians do if it was all a game, with VN writing letters to the NYRB and its ilk as EW and he as him, to mock such battles conducted in these journals. Even if it's fiction. 
(Amazon US 4/21/17) 

Thursday, April 27, 2017

"The Enthusiasms of Robertson Davies": Book Review


The Harvard Classics: Enthusiasms of Robertson Davies
This anthology reminds me of the belletrist, when a newspaper or magazine could afford to host an erudite raconteur to relate his likes and dislikes. Robertson Davies' selected book reviews from the middle-on of the last century, originally published in 1979, recall the age of comfortable chairs and book reviews aimed at the discerning common reader. "Is there anyone who does not know something of the life and career of Sydney Smith"?

Well, I confess as with a few of the (once-)celebrated figures he praises, I knew nothing. I skimmed some entries, but I liked their brevity. One indulgence Davies displays is that he may only at the end of a piece mention the work under scrutiny, or its editor or particular features. He's often content to ramble on for a few pages about his own attitude towards the subject. He may rarely cite passages verbatim, and he prefers to meander.

Yet, glimmers emerge of Davies' preference for the twisted, the odd, the misfit, same as those characters he dramatized in his own offbeat fiction. Speaking of Mervyn Peake's "Gormenghast" as a "startling and meaty novel, if you happen to have tired of dreary tales of adultery in suburbia, of the despair of illiterates that have never known hope, of pin-heads who fear that they are incapable of love, or any of the other stock themes of modern fiction," (201), the critic and fabulist commingle.

The third part of this collection takes up Davies' own predilections, but it seemed flimsier than the reviews, and even these, for all their eclectic range, by their compact nature did not allow (as on his fellow muse John Cowper Powys) the necessary depth that would have allowed Davies the space to expand his glimpsed observations and extend his snippets of analysis. (Amazon US 2/3/17)

Monday, November 7, 2016

Rule book or blank pages?


The Hedge School 

Five hoot-calls of an owl awoke me this dawn. Regarding this long in my life as my "totem" despite my recent Apache student's warning that this in her culture reads as a death message, I took this as a pre-Election Day harbinger. Sure, the entrails drawn and stars scryed read victory for Her, but our motley He-men loom, "useful idiots" manipulated for those, the shadow government who pulls our nation down.

Such rhetoric may be hyperbole, but the prophecies emitted over this "long national nightmare," to lift a phrase from the recent past which formed my coming-of-age, meant for me, as I've written before here, a skeptical bent towards the claims of power. Originally I looked to "put not my trust in princes, in man in whom there's no salvation/On the day he departs, his spirit returns to dust/On that day his plans die," to summon up a song from my youth taken from the Psalms. I suppose I toss that world-negating cast within my own prognostications, as I've always been drawn to those abnegating Mr. Dryasdust's norm or the stultifying Laputan, from my Confirmation patron St. Francis to the Irish republicans whose "blood" flows in me from a great-grandfather I discovered less than a decade ago was "drowned in mysterious circumstances" on a Land League 1898 delegation from Co. Roscommon to the city on the Thames.

The past few years, since Occupy, have found me delving into left-libertarian and anarchist thought. I did not know the typological niche in poli-sci where my non-state-socialist-sympathizing (but very suspicious of any political machine's machinations) leanings led me, for while some I respect chose Marx, I wanted a simpler, more egalitarian, transformating energy with room for misfits, seekers, and introverts. Even the milennarian schemes of the democratic left, for me, left not enough space for ambiguity, for a quest into the earthy, the numinous, the intellectual, the intuitive all. I suspect authority and recall the first grade meeting with my mom and my teacher, when she castigated me for the look on my face when criticized or disagreeing, a quirk I'm unable to shake. Even when I think I have a poker face, I don't, according to chagrined colleagues who chuckle, chiding me too late.

But I also mistrust the common herd. They're misled, and voting and democracy while ingrained in me betray the machinations of Her against Bernie, the evasion of ethics, the will to power consuming our people and our planet. Too many capitulate. I'm from the once-lauded, now despised "working class," oddly, the "scholarship boy" defined by Richard Hoggart and then popularized by Richard Rodriguez when I was in college on Pell and Cal Grants. But mortás cine, the pride I felt in Montana among those committed to passing on the ways of the heritage in a climate shunted aside for its lack of shade, is lacking in the city where I was born, far from the centers of the community the diaspora tries to grasp. No less than the bien-pensant elites with whom my more modest wife and my college-educated sons associate with, I suppose my own humble liberal arts pursuit churns me out into a chilly milieu, where nothing the DNC ever does can be equated with Him and His, and where flyover countryfolk are mocked and memed, in ways that these elites would never dare due to those of any other category or identification. Where surnames are summed up and approved lineages calculated and promoted. We're charted, boxes to check for Uncle Sam, and inevitably "identity politics" is used to generate gains for some and losses for others, in a society where nobody's the majority anymore.

Getting students to think about this tires them out. I've tried to integrate subversion, different points of view from an ideological range against the norms, but my students and colleagues are career-driven. As my institution symbolizes, one attends not to ask Big Questions, but to get tidy answers. Few then, want to undermine the paradigms by which they secure careers. The humanities attracts the discontents, but even there, most of those studying them today choose their own conformity of non-conformity, where every standard must be overturn. Instead of reading Shakespeare or Milton to appreciate or attack them, it's expedient to abandon them, and analyze Lady Gaga or the Simpsons. I show the five-minute tale of terror that's Hamlet for Bart, but I also include the play itself, first...

We're all able to enter the liberal arts. But now we're told it frees none; it's for the dead, tainted by a certain complexion or class, that it reeks of privilege. Yet out of it, sullied as it is, emerged those all around the world who wrestled with its tensions, and out of them, responded with their own informed creations. On my native island, some in my family tree might have learned Virgil in a hedge school.

As Daniel Mendelsohn asked in Harper's of his own realization of his same-sex attractions as a teen, a man almost exactly my own age: "Do you identify with what separates you from others, rather than what links you to them?" I paraphrase, but this ranking is one by melanin and genitalia on us, that delegates to the front of the line or relegates to the back, the first last, the last first, on Judgment Day.

Othala

(O: Ancestral property.) Inherited property or possessions, a house, a home. What is truly important to one. Group order, group prosperity. Land of birth, spiritual heritage, experience and fundamental values. Aid in spiritual and physical journeys. Source of safety, increase and abundance. Othala Reversed or Merkstave: Lack of customary order, totalitarianism, slavery, poverty, homelessness. Bad karma, prejudice, clannishness, provincialism. What a man is bound to.


This précis brings me round to the past few months. This blog's found me in hiatus. I've continued to archive new entries as book reviews, but I had to beg off after the end of February, vowing to rearrange my stored-up posts in my spare moments. These proved elusive due to heavier teaching loads, tendonitis, longer commutes, and audio books putting me to sleep after drives, rather than in print. I had also piled up as is my wont a lot of titles to review, and these turned into book reports of sorts, one always waiting due to remind me of my academic production line, and my need to please.

One project, which will be a chapter on the evolution of Irish folk-metal for a forthcoming anthology edited by my friend, Dr. Jenny Butler (now lecturing in Folklore at Univ. College Cork, to the delight of many), kept reminding me of procrastination's Sword of Damocles dangling over my greying head. It also kept in the back of my mind her chapter on neo-Druidry. And my drift to the North, videlicet. 

Finishing that task Mid-Summer's Day, I faced then increased teaching online in two courses of about three-dozen students each the past two terms to consume me, along with onsite courses. These online assignments are heavy, and take up a considerable amount of attention. The failure of my work PC (twice now) led to further tsurris, compounded by slow routers at home and the evasion of storing up much on an older laptop resurrected in a pinch (twice now). And I confess, for pleasure and profit in teaching, that FB has taken me onto its engineered conveyor line (no two times the same, thanks to its design, as we pursue likes, seeing our name over and over, and beckoned to share more "moments").

With my talk on anarchist reactions to the Rising timed for the ACIS-West conference in Missoula, I rushed to finish grading as the rush of finals grew during the gathering. Meanwhile the failure of my PC taken with me to Sea-Tac Airport found me reduced to pecking my Kindle for all things electronic. But I was not as despairing as before, for I'd backed up nothing again on the perfidious, aging PC replacement work issued me, all our laptops, it seems, going down around me in the other cubicles from my fellow toilers. Again, a portent of readiness: a call to hunker in, to stay alert now.

For a few friends I trust, from FB and some crossing over from there or to there from "real life" the past decade of change (what else?) in my quest, have all counseled me separately and lately. Prepare for what is to come. Remember my "warrior" side, shown not in battle (for I who was in the first cohort to sign up for Selective Service, who at 17 wrote to put myself on the record as a C.O. opposed to any state-induced induction, who remains committed to rejecting the order to kill even as I teach those who will never hear of my late-teen choice, my classes of 30-70% veterans, who in turn often must go to the nearby VA, to treat their wounds of body or mind.) but in commitment to justice, to a search for meaning, to a suspicion of cant and an intolerance for imposition of algorithms.

Why I am so comprised, due to nature or nurture, the fates or some genealogical resurgence, I'm stumped by my luck or lack in the DNA lottery. I woke up a few summer months ago with a firm resolve in my mind to pull down the copy of Halldór Laxness' Independent People from my shelf. Maybe as an inbred reaction to counter a hundred-degree heatwave here, but I rapidly decided, after enjoying the first few pages, to halt it to find out more about the Icelandic context. That led me to his biography, and his novel The Atom Station, and then Wayward Heroes, newly translated and reviewed. I like that take-down a lot, of the medieval Christian ethos and of group-think, penned as an adaptation of two sagas during the height of the Cold War, written in the last years of Stalin by a committed Communist who had begun to waver in his own faith substituted for his early Catholic conversion, but who remained, cranky, driven to yearn for rebellion in his fiction, and in his career.

A suitable figure to accompany me, Laxness' other fiction will continue to beckon me. I've also been listening to Saga Thing, a nicely punned podcast devoted to great length of the Icelandic corpus. Think of NPR's "Car Talk" but with discussions of the mechanics of kennings and the breakdowns of order rather than transmissions a thousand-plus years ago, related by skalds of their doughty forebears. I also followed along with Njál and Egil in their titular adventures, getting a sense of the guiding forces propelling their compatriots along. While Jane Smiley's The Greenlanders proved a let-down, at least I finally ended that, as I'd hoped to get insight into the failure of that Norse lot. She also stumbled when updating the Decameron into Ten Days In the Hills, so I guess despite her useful summation of the Middle Ages as great for the creative spark as they combine imagination with rigor, Smiley lacks the knack of vivid depiction of this era. Laxness similarly contended four years against depression in the creation of Wayward Heroes, and its appearance in 1952 was during dark Red hues.

Swinging into the long stretch, I've been musing how Norse ideals and a Northern mythos can or cannot align with a cantankerous mindset of mine unwilling to submit to divine creeds or to entertain the notion of deities revealed to us anymore than they are published by DC Comics or churned out as Marvel blockbusters. My students flock to manga and FPS and cosplay more and more, and I tell them that the gods do live on around us, even as churches dwindle and "nones" increase among them.

My exposure to the North gets me curious. My mother's surname although an Co. Mayo-originating clan--able if in legend to track itself back to not only the brother of Niall of the Nine Hostages but the root of their allies as the Northern Uí Neill, Conchobor Mac Nessa from the Táin itself-- I learned a few days ago may betray a Scandinavian tinge, confusingly. For "fionn" connotes a fair or bright one, conjectured by one antiquarian to derive from the lighter appearance of the "Viking" blow-ins. Not sure how this aligns with the definitely indigenous strain that's 93% of my DNA test, but that 6% Central Asian tinge lingers with a distant confirmation of the shamans and the steppes before the Ice Age receded and Doggerland became drained enough to separate the isles from the Continent. And that 1% East Asian may playfully explain my scholarly and personal curiosity about Buddhism, too.

All this circles round to the past few weeks. I'd naturally gravitated in my reading to see, before this surname find, if the revival of Ásatrú I knew of from Michael Strimska's chapter in Modern Paganism (where Jenny B has her valuable observer-participant account of Irish neo-paganism) might be worth a revisit. I reviewed the book a few years ago, and it struck me that only stregheria, the sorcery line in Italy, had arguably survived the Christian crackdown, despite the earnest claims of many that their so-and-so had sustained the Craft in the so-called Burning Times with the romantic or rhetorical excesses that accompany that epoch in New Age tellings. My medievalist training may mean I'm inoculated against rose-tints. I found Strimska's subsequent disavowal of the American folkish contingents of "the native European spirituality" advocated as Ásatrú instructive. As my next document, Stephen McNallen's eponymous primer and survey, confessed if between the carefully phrased lines, the end of the last century found those seeking this controversial path divided between those encouraging all, the universalists, and those folk restricting entry to those descended from the Germanic, Scandinavian, or a bit strangely to me, the Celtic peoples. As the Celts have never been a "racial" (sic) but a linguistically related congeries, the argument of "bloodline" gives me pause. My review elaborates on this and related issues. McNallen's Ásatru Folk Assembly stands for this stance.

I've been mulling this over, as is common for me, the intellectual and the personal quest entangling. The Israeli historian Yuval Noah Harari's Sapiens reminds us of the power of "invisible fictions," the concepts sparking links beyond the forager that make our modern realm possible. His subsequent Homo Deus warns of a post-modernism too eager to make us into immortal gods, a reification of the aura that entices heathens towards a hallowed promotion into a deathless realm. Harari suggests the appeal of polytheism for the ancients lay in its corporate loyalties and branding opportunities for the Assyrians, say, or Egyptians, a clever concept. I suppose pantheism, for their own ancestors, felt too diffuse, too localized. The imperial implications of the warrior cult, the Indo-European migrations, appear to complicate the ur-path of the pagans. An anarcho-primitivist critique ends with a boost for the animists. The short-lived Circle Ansuz attempted to take down McNallen from an Antifa angle.

Where I stand on this is under construction, as the sign says. I oppose open borders and approve population reduction for ecological and moral reasons. This puts me at odds with the left. I recognize multicultural realities and encourage exploration of knowledge by whomever wishes to learn. This may distinguish me from the right. But as Harari gently admits, the discredited "evolutionary humanism" of the past century, no less than the "socialist" version attacked, merits consideration, alongside the dominant paradigm of the Whole Foods crowd, liberal humanism. While I took a quiz to find I'm "93%" humanist, as my friend, a fervent atheist if of the Irish Catholic strain also got the same score. So even he mused what might lurk within him, as with me, to tug me towards the mystic.

I understand the consequences of assimilation into our current tossed salad (and this non-meat eater hates lettuce), where even if a European flavor's evident, it's swallowed up in spice and rice, so to say! Monocultures loom, as we're schooled to embrace the Other and we're getting used to portrayals of blends of families and couples never seen aired a few years ago. My students and my neighbors reflect this process. If I teach a story by Joyce or the myth of Plato's Cave, I'm not expecting those only who share my genome or continental origins to be enlightened by their revelations. In fact, I'm increasingly the only one "not of color" in my working environment. Still, I feel the legacy weaken.

That is, for whomever wants to find it, I sense an abandonment of this storehouse of folly and wisdom. Listening to David Hyde Pierce's masterful reading of Gulliver's Travels, the raw disgust and sly satire cutting back any pastel tints of its "children's book" set-up, I reflected I'd read it in high school. I couldn't imagine my current college crowd handling this, even with generous footnotes.

The capacity for comprehension of this, of Huck Finn, of 1984, of Mary Wollstonecraft and Zora Neale Hurston for that matter, seemed distant. If I was teaching where my sons earned their degrees, it'd be different, but even there, reading dwindles. The haunting scene of Marcel Theroux's Far North comes to mind. The heroine, representing the last of our progeny in this era, begins to forget the few constellations she can dimly discern. Civilization collapsed, she faces her fate in the ignorant dark.

So, who gets first dibs on admission to the word-hoard, the barrow-treasure, the sea-chest? For my choice, anyone who wants it, for we all pay homage to that enrichment. So, is that any different for following a way attributed, or more realistically to me, reconstructed from the shattered remnants of what's known to "our extended kin," as a welcome companion--on the bus ride through Irish traces evident still in Montana, to my inbred surprise and inner spark--phrased our common vision-quest?

As a long-suffering adult learner of Irish, one who tries from a great distance to recover my own meaning in part from my island's lore, I recognize the isolation of the seeker. Nobody around me shares my longing, nor communes with my invocations. A few out there advise and commiserate, mostly from the homeland, and two of them have in fact emigrated there from here, for that decision.

My family around me's from another upbringing, and one I accept and value as do my wife and sons. But mine's a different variegation. Its tendrils wind around me alone. I've been called silly for my search, as if for some 'red-haired colleen,' and chided for my inattention to my Los Angeles reality. But I'd never have been here if not born here. As dodgy "metagenetics" as McNallen phrases it, if in fealty more to Jung than science, does resonate despite reason. That Montana encounter endures as what the Swiss magus might label a "meaningful coincidence," of what calls within the lost soul beneath the pessimistic, analytical, and scrutinizing mind. Within, I also shelter an "anima," after all.

My internal jury's out debating this. (I can hear the strident tones of the likely ruler of a nation I increasingly feel disenchanted from, coming down from the t.v. above me. The promise of a midnight rally with Lady Gaga emanates. After sixteen months, there's eight years to go. Twitter tweets and fat-shaming, blaming and railing, comedy appearances and SNL gigs constitute what Lincoln and Douglas debated in their high-falutin' tones, albeit schooled in the classics.) I sit here and type away, in thought. I also recognize the othala, the inheritance rune I've seen in net searches popping up for a reconstituted clan, the "vikelt." While my post-Catholic affinities cause me not to adapt its Scandinavian design as a cross-flag, I recognize the green-and-gold colors that remind me of a land only once-removed from me. It's a construct I've not been able to trace, but it signals some echoes.

John Moriarty, whose voluminous and verbose texts ranged across the stories of cultures all over the world, nevertheless attempted in his Ireland in his last years to establish 'a Christian monastic hedge school' in his native Kerry. I imagine given his formidable eclectic mysticism it'd have defied that classification. His final attempt at convincing his countrymen and women, Invoking Ireland, sought to recover that fragile, thin voice as one like mystic him must have heard, not only at Samhain. My one generation is all that's here and the rest, for hundreds of such spans, rested and roamed in other lands and over another island, even before maybe it was an island. Drawn backwards to that dreamtime, one the scholar turned gardener Moriarty penetrated diligently if densely, I think of what's deemed The Hidden Lives of Trees and I imagine them as "fossils of time" even if a sensible FB pal sneers at my Robert Graves-like position. When lemon orchards fell in my childhood landscape, and tract homes and a freeway replaced where I'd played, I felt a loss as if a parent died. That gap in my youth may gash me in dreams tonight. Overcoming divisions of geography, class, and "race," do I gravitate back for grounding in the nature-nourished? What can an egg-head like me recover there?

As the definition demonstrates above, that Othala rune carries in it both affirmations and inversions. Germanic peoples know the cost of the latter towards the twisting of concepts for evil. Our ancestors likely labored as thralls, or slaves, some sent from Ireland to Iceland. Kings and heroes fill the chronicles, but as Laxness characterizes, stupidity and superstition accompanied voyages and accumulated plunder snatched from the suffering, our probable true bloodline, those defiant against power and then made, as the Odin Brotherhood purportedly commemorates, a persecuted and murdered line of "pagans" refusing the crozier's domination or the crown's domain. This may be a clever conceit for those too elevated to open Dan Brown (myself included).  Given how I resent order not chosen: can one be happy in a pre-modern regimen one undertakes to carry on? Can I--who reckon deities as emanations of our common yearnings, and our inbred projections for making sense out of the confusing, the depressing, and the perplexing-- find fulfillment in alliance with kinfolk?

Last night, before beginning my return, this time on audio, to a attenuated and sinister evocation of secret societies in David Mitchell's ambitious tale The Bone Clocks (I anticipate from the start it'll improve in the hearing as I found the reading of it engaging but enervating), I listened to Méti investigator Mark Wolf's interview about his 2013 follow-up to Mark Mirabello (see above link) on the Brotherhood. It rambled, but Wolf's acknowledgement of the blank pages opened for an adept in heathen paths as opposed to the monotheistic "rule book" conjured a useful metaphor. Increasingly, as with left-libertarian or Buddhist, anarchist or conventional ideologies, I seek the dim light between their cracks, the marginalia, the empty spaces. That may hearken a more solitary quest for me ahead.

Tuesday, November 3, 2015

"Flann O'Brien & Modernism": Book Review

The Irish writer born as Brian Ó Nualláin and best known under one of his many assumed names as Flann O'Brien has long been championed as a harbinger of post-modernism. Literary scholars scrutinized his life as a Dublin newspaperman and his relatively few fictional publications as proof of his eccentric genius, if as a talent overshadowed by a predecessor he both cultivated and resented, James Joyce. Their conventional wisdom lamented Brian O'Nolan the journalist/ O'Brien the fabulist as succumbing to ennui, drink, and hackwork, squandering subversive skills premiered in the novels At Swim-Two-Birds and The Third Policeman at the end of the 1930s. His modernist credentials, by contrast, have often been diminished.

So claim the fourteen participants from a University of New South Wales seminar commemorating the 2011 centenary of O'Brien's birth. Choosing not to focus on his life as Brian O'Nolan but on his works under many names, usually that of Flann O'Brien, professors expand their papers into academic essays. As with Maebh Long's "Assembling Flann O'Brien" (reviewed by me as "Making Sense of Nonsense", 14 April 2014) from the same publisher earlier this year, a reader may wonder what the author, who so gleefully and bitterly lampooned scholarship, would make of so many studious, posthumous tributes.

As co-editor Rónán McDonald explains, Brian O'Nolan's works elude genre conventions. O'Nolan's refusal to stay pinned down transcends his career as a civil servant in Dublin during the middle of the last century. His occupation impelled his taking on other names to disguise his mockery of the Irish government, its bureaucracy, and their mission to make the Irish language one that English-speaking natives would be compelled to learn. Furthermore, O'Brien, who as Myles na gCopaleen also penned witty columns for the Irish Times, ridiculed his nation's clerical and lay authorities, the humbugs and scolds around him, and the dull "Plain People of Ireland". He refined this raw material by savage wit.

McDonald introduces his essay on The Third Policeman's nihilism by summing him up: "His views and attitudes are shrouded in irony, ambiguity, linguistic play, ingenious obfuscation. There is abundant satire in his novels, as in his journalism, though the po-faced scholasticism of Flann contrasts with the populist posture of Myles. He lampoons patriotic Gaels in An Béal Bocht, the mythologies of the Irish Revival in At Swim-Two-Birds, finicky academicians in The Third Policeman." He loved to put down pretentiousness but he shied away from confrontation. Flann was more bold than Myles; his various personae masked his eccentricities even as they encouraged them.

Certainly, as contributors emphasize, O'Brien's disguises allowed him to sidle into arcane and odd controversies which he incorporated into his experimental fiction. Sean Pryor examines the influence of St. Augustine, and how good needs evil so God's creations can appreciate better their happy times; John Attridge compliments this approach with a study of O'Brien's use of Augustine of Hippo. He is a central character as is James Joyce, both in altered form, in O'Brien's last novel, The Dalkey Archive, published two years before O'Nolan's death in 1966. Augustinian notions of "sociable lies" reveal a slippery quality, in ethics as well as characterization, which warps scholastic satire into twisted plots.

Instability inspires the next three essays. Stefan Solomon investigates the relative failure of O'Brien's theatrical efforts to convey what in At Swim-Two-Birds succeeded as a subversive revolt of its tetchy characters against their scheming author. Solomon and Stephen Abbitt, regarding Flann's tribute to and travesty of James Joyce, agree that O'Brien emerges as a "reluctant modernist", contrary to most academic predecessors who have preferred to situate him among post-modernist literary pioneers.

However, as David Kelly insists, O'Nolan's many guises shared an "innate faculty for finding things funny", anticipating the post-modernist, mid-twentieth century "literature of exhaustion". Flann's repetition of his material attests to his living late enough to deal with the trauma of the past century in a more detached, obsessive, and playful manner. After all, he did not have to relive the difficulties of the early century, Kelly avers. In his ludicrous and bizarre creations, Flann is instead a harbinger of his century's "generational shift" away from recreating torment. Instead, post-modernist authors tend to mock, invert, and tease the pain of isolation and the power of obsession, through parody or irony.

These selections examine certain works from O'Nolan's varieties of names and works, but they bypass many others. The three novels cited above by McDonald garner most attention, but The Hard Life: An Exegesis of Squalor (1961), considered his weakest novel, gets two asides. As with Myles' prolific newspaper columns, under-examined here, a study of the strained attempts at satire in O'Nolan's later career, writing as Flann, might have balanced the general acclaim granted by contributors to his successful works. One needs to know where and how O'Nolan lost the plot.

The next set of entries roam into the linguistic methods employed by Flann O'Brien. Maebh Long  repeats some material from her recent book. She focuses here upon An Béal Bocht, to show how Flann's use of the Irish language addresses, or subverts, vexing preoccupations of naming and identity among conflicting Irish-speaking cohorts. Long compares Patrick Powers' 1973 translation as The Poor Mouth of this novel, by Myles na gCopaleen; her essay ends a bit eccentrically, if fittingly for this material, which evades cohesion even for the Irish-fluent reader, undoubtedly as its intention.

A peer of O'Nolan's, the poet Patrick Kavanagh, also jeered at the Irish government's propaganda about the doughty Gaelic peasant. Joseph Brooker compares Kavanagh's approach with O'Brien's.   Kavanagh and O'Brien's predecessors, Samuel Beckett and Joyce, connect via O'Nolan's marginalia in his copies of their works, as Dirk Van Hulle explains. These authors share an interest in parallax, "Chinese boxes" as nested narratives, and regression in theme and structure in their literary creations.

Regression and mathematical patterns via numerology in At Swim-Two-Birds, as Baylee Brits demonstrates, document O'Brien's scientific and technological interests, in the next section of essays. The coupling of mechanical devices and eerie inventions within The Third Policeman, as McDonald shows, represents darker corners of O'Brien's textual labyrinths, which continue to disorient readers.
The pull into infinity and regression reveals the abysmal and the dismal; co-editor Julian Murphet charts the tension between Myles the journalist and Flann the fabulist as he conjures up pataphysics and other esoteric send-ups of rational analysis, within O'Brien's fictions exposing a psychic death drive. The compulsions many of his characters exhibit pushes their pursuits beyond entertainment.

This aspect, the haunted quality within this troubled writer, does not earn the biographical context which Anthony Cronin's 1989 biography, No Laughing Matter, treated with compassion and insight. But, readers familiar with O'Brien's life and works already (a prerequisite, as little more than a nod to this background is given by the contributors or editors) will learn from Sam Dickson about Flann's propensity for fictions full of "hard drink". This compliments co-editor Sascha Morrell's congenial foray, as she aligns O'Brien's treatment of alcohol with the Australian writer Frank Moorhouse's The Electrical Experience: A Discontinuous Narrative (1974), about a soft drink maker Down Under. Culture and commodity feature here and in the final two, atypically off-beat (even by O'Nolan's standards) essays revealing Flann's range and curiosity. 

Mark Steven examines "aestho-autonomy" through At Swim-Two-Birds' Dermot Trellis. Trellis seeks solitude, to pursue masturbation. Steven frames this ambition as a "formal and narrative act", thus indicative of the political and economic stagnation in the new Irish Free State for which O'Nolan labored. Physical exertion, onanism, gender roles, and male potency also seeped into none other than the bicycle seat, as that machine and its rider merged, in O'Brien's The Third Policeman in forms that this short review cannot elucidate. Suffice to say that these learned essays may encourage the reader to take down O'Brien from the bookshelf. After perusing the ruminations of a coterie of his critics, why not enter, for the first time or another time, into the fictions of Flann O'Brien, Myles na gCopaleen, and various odd characters his writer wrote as, and about? The Irish labyrinth awaits you. (10-1-14 to  PopMatters)
Chapter 1 Making Evil, with Flann O’Brien
Sean Pryor, University of New South Wales, Australia

Chapter 2 Mythomaniac modernism: lying and bullshit in Flann O’Brien
John Attridge, University of New South Wales, Australia

Chapter 3 ‘The outward accidents of illusion’: O’Brien and the Theatrical
Stefan Solomon, University of Sydney, Australia

Chapter 4 The Ghost of ‘Poor Jimmy Joyce’: A Portrait of the Artist as a Reluctant Modernist
Stephen Abblitt, La Trobe University, Australia


Chapter 5 ‘Do You Know What I’m Going to Tell You?’: Flann O’Brien, Risibility and the Anxiety of Influence
David Kelly, University of Sydney, Australia


Chapter 6 An Béal Bocht, Translation and the Proper Name
Maebh Long, University of the South Pacific, Fiji


Chapter 7 Ploughmen Without Land: Flann O’Brien and Patrick Kavanagh
Joseph Brooker, University of London, United Kingdom

Chapter 8 Flann O’Brien’s Ulysses: Marginalia and the Modernist Mind
Dirk Van Hulle, University of Antwerp, Belgium


Chapter 9 ‘Truth is an Odd Number’: Flann O’Brien and Infinite Imperfection
Baylee Brits, University of New South Wales, Australia

Chapter 10 ‘An astonishing parade of nullity’: Nihilism in The Third Policeman
Rónán McDonald, University of New South Wales, Australia

Chapter 11 Flann O’Brien and Modern Character
Julian Murphet, University of New South Wales, Australia

Chapter 12 ‘No unauthorized boozing’: Flann O’Brien and the Thirsty Muse
Sam Dickson

Chapter 13 Soft drink, hard drink, and literary (re)production in Flann O’Brien and Frank Moorhouse
Sascha Morrell, University of New England, Australia

Chapter 14 Flann O’Brien’s Aestho-Autogamy
Mark Steven, University of New South Wales, Australia


Chapter 15 Modernist Wheelmen
Mark Byron, University of Sydney, Australia - See more at: http://www.bloomsbury.com/us/flann-obrien-modernism-9781623568504/#sthash.Z1ncj15a.dpu
Chapter 1 Making Evil, with Flann O’Brien
Sean Pryor, University of New South Wales, Australia

Chapter 2 Mythomaniac modernism: lying and bullshit in Flann O’Brien
John Attridge, University of New South Wales, Australia

Chapter 3 ‘The outward accidents of illusion’: O’Brien and the Theatrical
Stefan Solomon, University of Sydney, Australia

Chapter 4 The Ghost of ‘Poor Jimmy Joyce’: A Portrait of the Artist as a Reluctant Modernist
Stephen Abblitt, La Trobe University, Australia


Chapter 5 ‘Do You Know What I’m Going to Tell You?’: Flann O’Brien, Risibility and the Anxiety of Influence
David Kelly, University of Sydney, Australia


Chapter 6 An Béal Bocht, Translation and the Proper Name
Maebh Long, University of the South Pacific, Fiji


Chapter 7 Ploughmen Without Land: Flann O’Brien and Patrick Kavanagh
Joseph Brooker, University of London, United Kingdom

Chapter 8 Flann O’Brien’s Ulysses: Marginalia and the Modernist Mind
Dirk Van Hulle, University of Antwerp, Belgium


Chapter 9 ‘Truth is an Odd Number’: Flann O’Brien and Infinite Imperfection
Baylee Brits, University of New South Wales, Australia

Chapter 10 ‘An astonishing parade of nullity’: Nihilism in The Third Policeman
Rónán McDonald, University of New South Wales, Australia

Chapter 11 Flann O’Brien and Modern Character
Julian Murphet, University of New South Wales, Australia

Chapter 12 ‘No unauthorized boozing’: Flann O’Brien and the Thirsty Muse
Sam Dickson

Chapter 13 Soft drink, hard drink, and literary (re)production in Flann O’Brien and Frank Moorhouse
Sascha Morrell, University of New England, Australia

Chapter 14 Flann O’Brien’s Aestho-Autogamy
Mark Steven, University of New South Wales, Australia


Chapter 15 Modernist Wheelmen
Mark Byron, University of Sydney, Australia - See more at: http://www.bloomsbury.com/us/flann-obrien-modernism-9781623568504/#sthash.Z1ncj15a.dpuf
Chapter 1 Making Evil, with Flann O’Brien
Sean Pryor, University of New South Wales, Australia

Chapter 2 Mythomaniac modernism: lying and bullshit in Flann O’Brien
John Attridge, University of New South Wales, Australia

Chapter 3 ‘The outward accidents of illusion’: O’Brien and the Theatrical
Stefan Solomon, University of Sydney, Australia

Chapter 4 The Ghost of ‘Poor Jimmy Joyce’: A Portrait of the Artist as a Reluctant Modernist
Stephen Abblitt, La Trobe University, Australia


Chapter 5 ‘Do You Know What I’m Going to Tell You?’: Flann O’Brien, Risibility and the Anxiety of Influence
David Kelly, University of Sydney, Australia


Chapter 6 An Béal Bocht, Translation and the Proper Name
Maebh Long, University of the South Pacific, Fiji


Chapter 7 Ploughmen Without Land: Flann O’Brien and Patrick Kavanagh
Joseph Brooker, University of London, United Kingdom

Chapter 8 Flann O’Brien’s Ulysses: Marginalia and the Modernist Mind
Dirk Van Hulle, University of Antwerp, Belgium


Chapter 9 ‘Truth is an Odd Number’: Flann O’Brien and Infinite Imperfection
Baylee Brits, University of New South Wales, Australia

Chapter 10 ‘An astonishing parade of nullity’: Nihilism in The Third Policeman
Rónán McDonald, University of New South Wales, Australia

Chapter 11 Flann O’Brien and Modern Character
Julian Murphet, University of New South Wales, Australia

Chapter 12 ‘No unauthorized boozing’: Flann O’Brien and the Thirsty Muse
Sam Dickson

Chapter 13 Soft drink, hard drink, and literary (re)production in Flann O’Brien and Frank Moorhouse
Sascha Morrell, University of New England, Australia

Chapter 14 Flann O’Brien’s Aestho-Autogamy
Mark Steven, University of New South Wales, Australia


Chapter 15 Modernist Wheelmen
Mark Byron, University of Sydney, Australia - See more at: http://www.bloomsbury.com/us/flann-obrien-modernism-9781623568504/#sthash.Z1ncj15a.dpuf
Chapter 1 Making Evil, with Flann O’Brien
Sean Pryor, University of New South Wales, Australia

Chapter 2 Mythomaniac modernism: lying and bullshit in Flann O’Brien
John Attridge, University of New South Wales, Australia

Chapter 3 ‘The outward accidents of illusion’: O’Brien and the Theatrical
Stefan Solomon, University of Sydney, Australia

Chapter 4 The Ghost of ‘Poor Jimmy Joyce’: A Portrait of the Artist as a Reluctant Modernist
Stephen Abblitt, La Trobe University, Australia


Chapter 5 ‘Do You Know What I’m Going to Tell You?’: Flann O’Brien, Risibility and the Anxiety of Influence
David Kelly, University of Sydney, Australia


Chapter 6 An Béal Bocht, Translation and the Proper Name
Maebh Long, University of the South Pacific, Fiji


Chapter 7 Ploughmen Without Land: Flann O’Brien and Patrick Kavanagh
Joseph Brooker, University of London, United Kingdom

Chapter 8 Flann O’Brien’s Ulysses: Marginalia and the Modernist Mind
Dirk Van Hulle, University of Antwerp, Belgium


Chapter 9 ‘Truth is an Odd Number’: Flann O’Brien and Infinite Imperfection
Baylee Brits, University of New South Wales, Australia

Chapter 10 ‘An astonishing parade of nullity’: Nihilism in The Third Policeman
Rónán McDonald, University of New South Wales, Australia

Chapter 11 Flann O’Brien and Modern Character
Julian Murphet, University of New South Wales, Australia

Chapter 12 ‘No unauthorized boozing’: Flann O’Brien and the Thirsty Muse
Sam Dickson

Chapter 13 Soft drink, hard drink, and literary (re)production in Flann O’Brien and Frank Moorhouse
Sascha Morrell, University of New England, Australia

Chapter 14 Flann O’Brien’s Aestho-Autogamy
Mark Steven, University of New South Wales, Australia


Chapter 15 Modernist Wheelmen
Mark Byron, University of Sydney, Australia - See more at: http://www.bloomsbury.com/us/flann-obrien-modernism-9781623568504/#sthash.Z1ncj15a.dpuf
Chapter 1 Making Evil, with Flann O’Brien
Sean Pryor, University of New South Wales, Australia

Chapter 2 Mythomaniac modernism: lying and bullshit in Flann O’Brien
John Attridge, University of New South Wales, Australia

Chapter 3 ‘The outward accidents of illusion’: O’Brien and the Theatrical
Stefan Solomon, University of Sydney, Australia

Chapter 4 The Ghost of ‘Poor Jimmy Joyce’: A Portrait of the Artist as a Reluctant Modernist
Stephen Abblitt, La Trobe University, Australia


Chapter 5 ‘Do You Know What I’m Going to Tell You?’: Flann O’Brien, Risibility and the Anxiety of Influence
David Kelly, University of Sydney, Australia


Chapter 6 An Béal Bocht, Translation and the Proper Name
Maebh Long, University of the South Pacific, Fiji


Chapter 7 Ploughmen Without Land: Flann O’Brien and Patrick Kavanagh
Joseph Brooker, University of London, United Kingdom

Chapter 8 Flann O’Brien’s Ulysses: Marginalia and the Modernist Mind
Dirk Van Hulle, University of Antwerp, Belgium


Chapter 9 ‘Truth is an Odd Number’: Flann O’Brien and Infinite Imperfection
Baylee Brits, University of New South Wales, Australia

Chapter 10 ‘An astonishing parade of nullity’: Nihilism in The Third Policeman
Rónán McDonald, University of New South Wales, Australia

Chapter 11 Flann O’Brien and Modern Character
Julian Murphet, University of New South Wales, Australia

Chapter 12 ‘No unauthorized boozing’: Flann O’Brien and the Thirsty Muse
Sam Dickson

Chapter 13 Soft drink, hard drink, and literary (re)production in Flann O’Brien and Frank Moorhouse
Sascha Morrell, University of New England, Australia

Chapter 14 Flann O’Brien’s Aestho-Autogamy
Mark Steven, University of New South Wales, Australia


Chapter 15 Modernist Wheelmen
Mark Byron, University of Sydney, Australia - See more at: http://www.bloomsbury.com/us/flann-obrien-modernism-9781623568504/#sthash.58blLTNi.dpuf
Chapter 1 Making Evil, with Flann O’Brien
Sean Pryor, University of New South Wales, Australia

Chapter 2 Mythomaniac modernism: lying and bullshit in Flann O’Brien
John Attridge, University of New South Wales, Australia

Chapter 3 ‘The outward accidents of illusion’: O’Brien and the Theatrical
Stefan Solomon, University of Sydney, Australia

Chapter 4 The Ghost of ‘Poor Jimmy Joyce’: A Portrait of the Artist as a Reluctant Modernist
Stephen Abblitt, La Trobe University, Australia


Chapter 5 ‘Do You Know What I’m Going to Tell You?’: Flann O’Brien, Risibility and the Anxiety of Influence
David Kelly, University of Sydney, Australia


Chapter 6 An Béal Bocht, Translation and the Proper Name
Maebh Long, University of the South Pacific, Fiji


Chapter 7 Ploughmen Without Land: Flann O’Brien and Patrick Kavanagh
Joseph Brooker, University of London, United Kingdom

Chapter 8 Flann O’Brien’s Ulysses: Marginalia and the Modernist Mind
Dirk Van Hulle, University of Antwerp, Belgium


Chapter 9 ‘Truth is an Odd Number’: Flann O’Brien and Infinite Imperfection
Baylee Brits, University of New South Wales, Australia

Chapter 10 ‘An astonishing parade of nullity’: Nihilism in The Third Policeman
Rónán McDonald, University of New South Wales, Australia

Chapter 11 Flann O’Brien and Modern Character
Julian Murphet, University of New South Wales, Australia

Chapter 12 ‘No unauthorized boozing’: Flann O’Brien and the Thirsty Muse
Sam Dickson

Chapter 13 Soft drink, hard drink, and literary (re)production in Flann O’Brien and Frank Moorhouse
Sascha Morrell, University of New England, Australia

Chapter 14 Flann O’Brien’s Aestho-Autogamy
Mark Steven, University of New South Wales, Australia


Chapter 15 Modernist Wheelmen
Mark Byron, University of Sydney, Australia - See more at: http://www.bloomsbury.com/us/flann-obrien-modernism-9781623568504/#sthash.58blLTNi.dpuf

Wednesday, October 28, 2015

Terry Eagleton's "Culture and the Death of God": Book Review

Terry-Eagleton-Culture-of-Death
I figured, despite the difficult content, that hearing these lectures on audiobook might ease their delivery. I like Terry Eagleton's work, and I always mean to read more. The Meaning of Life, for instance, is on my Kindle, where I am saving it up still, having already studied its final chapter.

But the subject matter is challenging. Eagleton's wit is subdued, after early on a joke at the expense of Birmingham. He hones in on not the "death of God" so much as his replacement, high European culture. The kind of thinking that George Steiner represents the last generation to have espoused.

This arose earlier than the Enlightenment, but that period, for the French and the Germans, gave it its fullest diffusion. Many Germans crowd these pages, along with the sometimes somewhat more familiar French. Eagleton looks down on the likes of Diderot and Voltaire, for they suffer the hypocrisy of many of their peers. For they speak a 'double-truth': they claim the masses need religion for its calming messages and social utility. The elite, of course, can rise to a higher worship of reason.

Yet, as Eagleton astutely notes, Deism roused no martyrs. He constantly defers to, or better still champions, the Gospel message as liberation theology (even if he steps aside from this phrasing). His Christ comes to afflict the comfortable and to condemn the authorities, taking up the side of the poor.

If one wonders if this is a selective interpretation of biblical verses, one will end this book unenlightened. Eagleton employs these talks to promulgate his own insistent reading of Jesus as a revolutionary. As the modern times impinge, and Nietzsche's own shameful (in Eagleton's view) capitulation to the 'double-think' standard proves that even he is not worthy of acclaim, the book shifts into a rapid look at those such as T.S. Eliot who attempted to make the aesthetic the norm. But, being Christian, that cohort also falls short for Eagleton. He wedges into our own age, divided between a secularized and educated class and many billions (some with degrees and high incomes, surely, a factor he skims past) who continue to integrate, however irrationally to this professor's rigorous if somewhat numinous preferences for his own Christ-figure, faith with achievement.

Eagleton nods to the resurgence of Islam and Christianity in many poorer parts of the world, not so much again as forces calling for the kind of radical overthrow of the power system, but more as a way to live in a complicated world more simply. I reckon more on Marx might have helped his explication, but his promotion of Nietzsche as the central figure in this short study leaves us moderns somewhat imbalanced. After a lively if brief look at earlier Irish dissident (if renegade Protestant convert) thinker John Toland, the reader wants more such figures to energize these dense chapters.

Instead, it's less intoxicating. Eagleton crams a lot into these sections, but he often does not explain who the figures are beyond their dates of birth and death, leaving a reader (and even more a listener) curious or confused. Some transfer of lofty content to a common if smart reader was necessary, but these lectures, transcribed as I suppose they originated, go over the heads of many who could have benefitted from a more streamlined, listener-friendly, version of what remain engaging ideas and an intellectual history on a topic that an audience needs to hear, as believers, skeptics, or seculars. 
(Amazon US 10-30-15. P.S. 2012 interview at the Oxonian Review with Eagleton on this book)

Friday, October 16, 2015

Paul Strohm's "Chaucer's Tale": Book Review

A "microbiography" of the poet's pivotal year of 1386, Chaucer's Tale reconstructs his situation as he entered a mid-life crisis. Enjoying a rent-free lease on a dank but well-situated residence at London's Aldgate portal, benefiting from a position in Parliament, and supported by a salary as a customs controller, in his early forties, Geoffrey Chaucer would seem to have it made. Depending on noble patronage and royal preferment, this up-and-coming civil servant-turned-insider at court found himself on the outs. On the losing side, he retreated to Kent and then crafted his tales of Canterbury. Forced retirement compelled him to reinvent himself.

Paul Strohm, a retired professor from Oxford and from Columbia, enlivens the London where Chaucer was born and raised. Nearly nothing is known of his literary career from the records extant, but much is about his work for the Crown. From the hints scattered or imagined in his verse, scholars construct a parallel life in private to that of the public man who worked his way into favor, slowly.

His stony, damp cell above the key position of Aldgate in the northeast corner of the old city stands as a "symbol of his entire London experience: rather blatantly public in some respects, yet quite private and defended in others". Chaucer's intense activity contrasts with his withdrawal and retreat from the hubbub. He occupies the intersection between the urban fortified wall and the busy road into the countryside. Strohm sets Chaucer's day within hearing of church bells, from dawn to midnight at Holy Trinity Priory, near his residence. Strohm reminds us of Chaucer's placement near this pattern of liturgical time, daily followed by the monks, and of his affinity for the seasonal cycle of pilgrimage and of devotion, coinciding with the natural rhythm of springtime which opens his tales memorably.

This narrative moves back and forth in Chaucer's lifetime somewhat, to fill in the back story. In 1374, Chaucer's appointment as controller of wool customs put him into a much loftier role than that title may convey to modern audiences. The wool trade dominated English commerce as its "only significant export item". Chaucer's complicity with corrupt merchants and bureaucrats to skim off the profits was expected by his betters, if implicitly. For, his wife's brother-in-law was John of Gaunt, who had ruled as regent, being Richard II's uncle. This had its advantages, but these could prove fickle. Chaucer depended on those higher up for the favors they dispensed and as a commoner he had to accept as he moved up the career ladder more than one "constrained choice", in Strohm's phrase.

Strohm pursues clues in the archives, and digs deep into material that may appear tangential. This may weary some readers, but he uses this data to suggest that Chaucer was not tempted by any great chicanery during his customs watch. Strohm avers Chaucer laid low as London's power elite colluded to enrich themselves from the wool tariffs pocketed and from the bribes exacted from tradesmen. Chaucer did not own land. He had been set up in a safe seat as a "yes man" for King Richard II.

This necessitated Chaucer's withdrawal from the customs post. He was recently estranged from his wife. He had to vacate Aldgate, for his single term in Parliament as a "shire knight" lacking property but representing nearby Kent. This office depended on Chaucer as a loyal backer of John of Gaunt and of the Ricardian factions, but from the time Chaucer entered Parliament through 1389, discontent grew. A majority in government resented the king's control by a few courtiers. Strohm interprets this hostile course of events as shoving aside Chaucer. He prudently absented himself from London during the next two years; some of his former allies turned malcontents were executed by Richard II.

Throughout this intrigue, Strohm tries to keep the tone in tune with us. He uses the phrase "living large", he compares the Parliament's politicians in session back then to those on expense accounts at bars in Pimlico or the Beltway, he nods to the attractions of the Las Vegas strip, and he offers an analogy to Hemingway's novella about the great marlin. These asides do not jar as much as one might expect. The liveliest sections, about Aldgate and about the making of the Canterbury Tales, rush by rapidly. More on Chaucer's most famous work would have been welcome, but Strohm's end notes point to his fellow scholars who have contributed much to our understanding of this story-cycle. After all, Strohm has set himself the difficult task of setting up the assembly of the tales, not their contents themselves. Meanwhile, he reminds readers of its fine predecessor, Troilus and Criseyde.

With "no fixed job and insignificant income", Chaucer decided on not a political but a literary "riposte" to his fall from favor. "Chaucer in 1386 was eminently fame-worthy...but certainly not famous yet." Strohm shows how his forced relocation and his separation from his urban audience sparked innovation. Eager to expand his reputation, Chaucer's hidden rivalry with Italian tale-teller Boccaccio spurred the Englishman to write in his native language its first lengthy masterpiece. Strohm regards the tales as a catalyst for an "audience of his own invention" as varied storytellers became characters, emerging to share a mixture of genres and styles, high and low registers, serious and comic narratives. In Strohm's version, Chaucer had to leave London and his comfortable sinecures. By doing so, and starting all over as a writer bent on making his reputation, he attained fame after all. This account reminds us of the impact Chaucer had, by choosing our own language.
(PopMatters 2-16-15; Amazon US 2-20-15)

Thursday, October 8, 2015

Paul Kingsnorth's Dark Mountain Project


Last entry, I reviewed Paul Kingsnorth's deservedly acclaimed, if harrowing and relentless, novel The Wake. Evoking by a "shadow language" adapting Old English, he conveys a first-person narration of a selfish, snobbish small-holder with big plans to fight the Normans who have invaded and ruined his land, and the nation of England itself. Kingsnorth's name seemed vaguely familiar, and I realized that I had read about him last year in this article in the NY Times Magazine, "Ït's the End of the World as He Knows It, and He Feels Fine." Ever since his teens, he has protested as an activist the destruction in his homeland, a millennium later, that never ceases. Forests fall, shopping centers rise.

What can we do? Increasingly, he viewed his fervent struggles against the Machine and Man as futile. “I’m increasingly attracted by the idea that there can be at least small pockets where life and character and beauty and meaning continue. If I could help protect one of those from destruction, maybe that would be enough. Maybe it would be more than most people do.“ He cites poet Robertson Jeffers, who also retreated from the fight, and was outcast by his peers once he spoke too loudly against Uncle Sam during WWII, its profiteering, and patriotism demanding fealty from war objectors and dissidents. He lived in Tor House on the Carmel coast, once a modest bohemian burg.

Jeffers as it happens lived as a teen near me. I found this out when researching a local history booklet to which I contributed. I find it impossible, a century later, to imagine him wandering down to a mountain-fed river, full of boulders. Plein-air artists came to the Arroyo Seco to capture its vistas. Now it's the site of the world's first freeway, built in 1941 as a scenic parkway, but all around most of it, houses (like mine, yes) soar, cars whir, and the "urban hum" of Los Angeles runs day and night.

Like Jeffers, those at this Dark Mountain Project seek renewal in a bold response to the havoc wrought by our "progress." But it isn't a political campaign, as he once hoped. (Greens, after all, flounder compromised by coalitions.) He links to this piece on his homepage, where he asks himself FAQs, too. As with any artist, he must promote his views, and like few I read, his views please mine.

The answer that resounded with me, despite the fact I suspect he's one of "those" Oxford grads pretty cocksure of himself, is below. As I saw via my friend Andrea Harcher on FB this photo the same day, and I'd been wondering about the fate of the forests in both The Wake and our own devastating era, I share his reflections. There is sentiment in this photo, and sadness on the Dark Mountain site. Both are fair responses. If you are keen, visit his page as well as his Dark Mountain Manifesto, the subject of the NYT profile. He and colleagues seek to come to literary and aesthetic terms with the end of civilization as we know it, as ecocide replaces ecology. For we stand looking down at/on earth.

What are your politics?
I used to be a political obsessive. But the older I get, the further I want to run from anything with the p-word attached. It’s partly a desire to avoid defining myself, and to allow my mind some freedom. But it’s also because ‘politics’ seems mostly to be thinly-disguised primate tribalism. I think that what we call ‘politics’ is a means of clumsily rationalising deep psychic impulses and then fighting about them. There is very little that is more fruitless than this kind of behaviour. You’re more likely to find truth in science, poetry or the caves of a desert hermit, and I’d suggest you look in all those places first.
Still, you’re going to want more than that, aren’t you? So here’s my best stab right now. It might change tomorrow.
I am left wing. That is to say that I am opposed to obscene concentrations of land, power and wealth, I instinctively favour the underdog and, like anyone else who is paying attention, I am anti-capitalist. Capitalism is the name applied to an economic and cultural machine which makes paper profits for agglomerations of private individuals by externalising its costs onto nature and the weaker bits of humanity. It functions by turning living things into dead things and calling this process ‘growth’. Capitalism is like a tank: it’s a death machine which feels safe and warm as long as you’re sitting inside it rather than in its way.
I am also right wing. That is to say that I am suspicious of ‘progress’ when that word is used to denote the onward march of the industrial machine (see above), and I think that a feeling for place and locality, history and human community, are things worth paying close attention to. I think that the State as an institution is the root cause of many of the world’s problems, and I think that the tradition of Western liberalism is decaying into a kind of self-righteous illiberalism, surrounding itself with a wall of isms and phobias in order to avoid the encroachment of inconvenient realities.
Will that do?

Thursday, August 13, 2015

Christopher Hitchens' "Arguably": Book Review

Arguably: Essays by Christopher Hitchens [Hardcover]I miss Hitchens. I used to look forward to his book reviews in The Atlantic, and when I'd pick up an occasional copy of Vanity Fair, his opinions on whatever he found worthy kept my interest. Even if "Why Women Aren't Funny" in 2007 famously fell flat, in re-reading it within this massive anthology of his journalism from the last period of his life, a more sly sense of him putting us on appears.

He reminds me in this compilation of George Orwell, a forebear to whom he nods often. Like Orwell, he takes on literature, popular culture, current events, history, and politics with equal assurance. I cannot think of a writer addressing a wide if educated audience today his peer when it comes to his breadth. He compares 1984 to Hilary Mantel's Wolf Hall in its prescience as to how a totalitarian system can exert itself and how a Reformation can erupt. He notes the same nom de guerre employed by Edmund Burke and, of all people, Rosa Luxemburg. As a former Marxist and one who knows how Trots work, he nods to how radicals frequently assume the worst possible motive of an opponent is his or her correct one. He notices how Rebecca West's sentences accumulate reflection as do Paul Scott's, so at the price of verisimilitude, a necessary chance for explanation and reflection unfolds.

Hitchens even connects Hitler's efflorescence to the moth found in the throat of a female victim in The Silence of the Lambs. Such a range merits awe. Hitchens rarely strains for the fancy phrase, but the scope of his exploration of how we think, act, and write deserves acclaim, even if you disagree. He shows deftly how Lincoln shifted the way we use the United States itself, from "are" to "is" to portray its unity after the Civil War. Speaking of war, he ends his introduction to West's Black Lamb, Grey Falcon by rallying his own allegiance to stand up for a righteous cause. She was "one of those people, necessary in every epoch, who understood that there are things worth fighting for, and dying for, and killing for." (221) However, in 2007 he seems to regret  his support for the first Gulf War.

"I was among those who thought and believed and argued that this example [of U.S. implementation of a "you-fly-you-die zone" over Iraqi Kurdistan] could, and should, be extended to the rest of the country: this cause became a consuming thing in my life. To describe the ensuing shambles as a disappointment or a failure or even a defeat  would be the weakest statement I could possibly make: It feels more like a sick, choking nightmare of betrayal from which there can be no awakening."(521)

These essays and pieces roam widely. They begin with American politics and history. then English literature, observations on mores and manners, foreign policy, "legacies of totalitarianism," and defenses of free speech as PC-speak inhibits bold journalism. He predicts: "Within a short while,--this is a warning--the shady term 'Islamophobia' is going to be smuggled through our customs. Anyone accused of it will be politely but firmly instructed to shut up, and to forfeit the constitutional right to criticize religion. By definition, anyone accused in this way will also be implicitly guilty." He finds presciently in an attempt to alert the world to the danger of letting fanatics shut down the Danish press for cartoons judged offensive in 2007, that "American Muslim leaders" are canny. He cites the NY Times in explaining how PR spin is spun. ''They have 'managed to build effective organizations and achieve greater integration, acceptance and economic success than their brethren in Europe have. They portray the cartoons as part of a wave of global Islamophobia and have encouraged Muslim groups in Europe to use the same term.' In other words, they are leveraging worldwide Islamic violence to drop a discreet message into the American discourse." (706)

While inevitably some entries feel lightweight, or seem already dated as to once-current events they may lack the impact of his more detailed critiques, the collection rewards one's attention. Hitchens strives to answer his critics fairly and patiently, and he keeps alive his measured wit along with a winning sense of his own failings as he struggles to make sense of our world. (Amazon US 4/5/15)

Sunday, June 14, 2015

"James Joyce in Context": Book Review

During most of the last century, critics presented James Joyce as above the cares of the world, devoted to his difficult craft, before and after his self-imposed exile from Ireland. Scholars promoted a view of Joyce as a troubled genius increasingly removed from daily life by his obsessive linguistic experiments. He lived in Trieste, Paris and Zurich many years, but he never escaped the streets and sounds of his native Dublin.

So goes received wisdom. Challenging this notion of a disengaged artist indifferent to his later surroundings, John McCourt edits essays from thirty-two like-minded academics who study James Joyce in Context. McCourt admits that Joyce "seems to us today a little less original and God-like, a little more accidental in his actions and choices, a more human author, happy to lift and to cut-and-paste carefully sifted material from a huge variety of sources before making it indelibly his own, a writer who was very much part of his world."

Starting with contributions on the composition history of his major works, on his biographers and his letters, this compendium places Joyce within our critical reception of his fiction and his facts. The dominance, Finn Fordham argues, of Richard Ellmann's 1959 biography endures fifty-odd years later. Fordham fears that tome limits Joyce studies to a specialist and "even isolationist" environment. He compares the few biographies extant to a "cityscape conglomeration" where Ellmann's structure looms tallest, even if it is not altogether still inhabitable. That slowly decaying monolith rises over a half-vibrant, half-moribund scene "so ripe for redevelopment but hindered from it indefinitely."

This essay must have been submitted before Gordon Bowker's 2011 biography appeared. Still, Fordham's remarks remain true. Joseph Brooker in his entry on "Post-War Joyce" concurs. Ellmann's monumental effort made that biographer "a tribal elder, a unique point of reference" resisting change.

In the second section of this anthology, various schools of theory and critical reception examine how we can interpret Joyce's works with more flexibility than his major biographer may have done years ago. Marian Eide targets Molly Ivers in "The Dead" to peer into how Joyce treated gender and sexuality. Eide's focus highlights her well-chosen case study. Eide avoids taking on too much in too little space. Each of these contributors has only a few out of these four-hundred-plus pages to devote to a particular theme, after all. In similarly brisk fashion, Jolanda Wawrzyca reports on Joyce's many varieties of translation exercises during his career. A lively look at Joyce's place within world literature enhances Eric Bloom's chapter. Other essays, as found in too many an academic volume, slow appreciation. Jargon and cant thicken. Critics dominate, not Joyce. Theory nudges aside insight.

Sean Latham repeats Fordham's frustration over another obstacle that impedes practical progress by Joyceans. The Joyce estate imposes strict standards on which post-1922 major works can be quoted. Deeper investigation of Ulysses, Finnegans Wake, correspondence and archived material is stymied. However, as Latham and Cheryl Herr demonstrate, media culture now and material culture in Joyce's era complement each other as methods to investigate the everyday milieu joining author with readers.

Herr's deftly chronicled observations of "engagement and disengagement" within Joyce and his characters open the third part of McCourt's collection. Background and historical topics comprise more than half of the book's chapters. Not only Dublin, Paris and Trieste, but British literary, Greek and Roman culture gain attention. Medicine and music receive scrutiny, along with modernisms and languages. Newspapers join philosophy, theology and politics as subjects relevant for Joyce's texts.

The variety of frameworks through which these contributors pore over Joyce and his works enable a reader familiar with this author's texts to delve deeper into current scholarship. By allowing Joyce to be more securely placed within his own life and times, James Joyce in Context shows how the writer emerged from his influences. It reminds us how he influenced the literary and cultural realms of modernism. While some entries may discourage the casual inquirer, others, all from experts, entice.

Science and the cinema wrap this up. This volume concludes with sex. How one chapter connects to the other within this final section eludes me. Yet, the appeal of Joyce, far beyond the few who are lucky enough to make a living pursuing the mysteries of his verbal labyrinths, endures. Christine Froula reminds us that Ulysses is being read today in Tehran. She footnotes a sly explanation. The ban on this novel was lifted in 1999 by the Islamic regime. Its "more objectionable passages" can be printed in neither English nor Farsi. As a fluent Italian speaker who taught his native language to Berlitz students in Italy, Joyce would have relished the irony of this Persian proviso. It permits those passages, which have incited censorship so often over the past century, to be printed,if only in Italian.
(Spectrum Culture 6/8/15; Amazon US 6/13/15)

Tuesday, March 10, 2015

Corporate as avant-garde?


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While I figured Tom McCarthy's new novel, Satin Island (reviewed in the L.A. Times) might be too much to take on given my busy life and backlog of other books to read for now, I found, thanks to FB friend, the author's Guardian article insightful. It elaborates the anthropological applications that the LAT review and the novel itself document. "The death of writing--if James Joyce were alive today, he'd be working for Google" features this insight among many, near its conclusion:
As for the world of anthropology, so for the world of literature. It is not just that people with degrees in English generally go to work for corporations (which of course they do); the point is that the company, in its most cutting-edge incarnation, has become the arena in which narratives and fictions, metaphors and metonymies and symbol networks at their most dynamic and incisive are being generated, worked through and transformed.
His final words remind me of a fact that has intrigued me. Many of my students are computer majors and even more are gamers. But they will work in cubicles, they tap away on laptops, they stare at a screen enchanted for far longer than a book may entice most of them. I doubt they'll fall for "metaphors and metonymies" in pagebound fashion. Music fades, films recede unless tied into a reliable superhero or graphic novel franchise, and culture revolves around gadgets.

 While “official” fiction has retreated into comforting nostalgia about kings and queens, or supposed tales of the contemporary rendered in an equally nostalgic mode of unexamined realism, it is funky architecture firms, digital media companies and brand consultancies that have assumed the mantle of the cultural avant garde. It is they who, now, seem to be performing writers’ essential task of working through the fragmentations of old orders of experience and representation, and coming up with radical new forms to chart and manage new, emergent ones. If there is an individual alive in 2015 with the genius and vision of James Joyce, they’re probably working for Google, and if there isn’t, it doesn’t matter since the operations of that genius and vision are being developed and performed collectively by operators on the payroll of that company, or of one like it.
I live among this. I study languages, I pore over medieval lore and obscure writers, I dream of the past even if my place within it would likely have been a nearly blind boy, falling off a dark cliff not too long into his appointed span of years, one moonless night, hopelessly myopic and too thin to live. I like how Game of Thrones fascinates many. My older son shared this ingenious attempt at HuffPo to reason its fantasy world's workings into the increasingly complex series about to unveil season five.

Contrary to McCarthy, I'd mention from my vantage point among those who seek corporate jobs that this world of work cannot enchant as many. I read Joshua Ferris' Then We Came to the End one vacation while my workplace underwent a series of "reductions in force" that are still ongoing. I liked it but I was downcast at the same time. Ed Park's Personal Days tried to tie the keyboard-driven class to a rather post-modern conceit, and the unfinished The Pale King by David Foster Wallace to my surprise drew me into its accountant's vision, working for the IRS at a Midwestern "office park," of the connection between the government's attempts to change the tax code and corporate hegemony.

All these do sound bleak. Few movies take place mostly at work, and few want to escape this setting by finding entertainment about it. Parks + Recreation or the two versions of The Office, of course, can be cited to the contrary, but compared to the vast subject matter audiences prefer, they're rare.

Meanwhile, I integrate the satirical series Silicon Valley into my Technology, Society and Culture course, and my students sit up. They may even put down their phones. For, they see their ambition.

Friday, February 6, 2015

Ruth Kinna (ed.) "The Bloomsbury Companion to Anarchism": Book Review


Anarchism resists centralized dictates. easy categorization or top-down organization. Hence, scholarly work on anarchist movements has been scattered. Academics are unlikely to moonlight as black bloc activists or engage in direct action such as the Occupy movement or encampments and protests against the state or the system. Anthropologists or literary critics who champion anarchist investigation may find their analyses marginalized or ignored, while grassroots activists may be suspicious of the academic apparatus.

The two dozen contributors assembled in this volume come from around the world and break down the barriers between participation and observation. These mentors use a multidisciplinary approach that crosses divisions within the academic community and, more importantly, outside university walls. Originally published in 2012 as The Continuum Companion to Anarchism, this revised paperback edition is available at a more affordable price and includes Ruth Kinna’s updated opening and concluding remarks.

Saul Newman opens a chapter on post-anarchism by defining anarchism itself as “a political and ethical critique of power, particularly that which is embedded in the state and in capitalist economic relations.” This critique “contends that life can be lived without government and that social relations can and should be organized through decentralized, voluntary and cooperative structures, and on the basis of liberty and equality.” Newman applies Michel Foucault’s “war model” to criticize radical political methods bent on revolt against and elimination of the opposition. Instead, Newman aspires toward a post-anarchist “political-ethical-spiritual project of autonomy.” As with many of the subsequent entries, his essay ends just as it becomes interesting. But Newman may ignite a spark of curiosity and spur eager readers to action.

This do-it-yourself approach emerged more playfully during Foucault’s rise to international prominence in the late ’60s and early ’70s. It challenged earlier theories and champions of anarchism and invited counterculture efforts to expand the possibilities of the body in more creative ways. It liberated individual as well as mass movements as a viable way to move beyond trade unions or general strikes, and suggested that change might come by less dramatic means such as alternative structures and inspired attitudes flourishing behind the scenes.

The anthology’s most creative chapter is enriched by channeling older forms of resistance to newer versions of existence. Jonathan Purkis’ “The Hitchhiker as Theorist: Re-thinking Sociology and Anthropology from an Anarchist Perspective” explores the “mutual aid, cooperation and trust” of underground economies that operate largely free of monetary transactions. Urban or rural, on the road or off the grid, this far-flung network is sustained by trust between hitchhikers and their supporters. Open space for communal and individual organization can thrive out of reach of the law and conventional power relations.

Uri Gordon encourages further research based on participant-observation, providing guidance on framing proposals to meet ethical standards and advice on how conduct such research within a potentially suspicious atmosphere. The subversive potential of Gordon and his fellow social scientists David Graeber and Richard Day finds a spirited defense in Laurence Davis’ “Anarchism and the Future of Revolution.” Davis rallies to his colleagues’ side against those who indict the professors for being insufficiently radicalized, too cautious in cheering on the imminent global triumph of the 99%.

In “Genders and Sexualities in Anarchist Movements,” Sandra Jeppesen and Holly Nazar explore how change can come by more intimate means. Along with a literary chapter by David Goodway, Jeppesen and Nazar nod to to the imaginative gender and social constructs of science fiction and fantasy writer Ursula LeGuin. However, the book’s treatment of popular culture remains under-examined compared to its denser political and theoretical investigations. The index doesn’t even mention music: no Sex Pistols, let alone Crass. Fine arts coverage is similarly less than comprehensive. The section on art history seems to exist mostly for its author to defend his scholarly publication record against a Marxist-oriented critic. This is part of what must be a lively dialogue, but it’s out of place in a reference work, crowding out other voices from the intersection between art and anarchism.

The book nevertheless represents a variety of voices that address social ecology, Latin America, analytical philosophy, anarchist forebears and theorists, geography and urban space and issues of race and ethnicity. A useful supplement defines key terms, a guide to internet, print and other media resources and lists of other reference works. These appendices redress some of the shortcomings of the essays in breadth and scope. True to an anarchist spirit, the archives, networks, and collectives compiled represent the potential applied by activists past and present. These efforts prefigure ways in which we can start to live freer now, rather than daydream about future liberation. (Spectrum Culture 9-29-14; Amazon US 2-6-15)







he activist.







Table Of Contents

Acknowledgments
Part 1: Research on Anarchism
Ruth Kinna, Introduction
Approaches to anarchist research
Saul Newman, Research methods and problems: Postanarchism
Benjamin Franks, Anarchism and analytic philosophy
Allan Antliff, Anarchism and Art History: Methodologies of Insurrection
Uri Gordon, Participant Observation
Alex Prichard, Anarchy, Anarchism and International Relations
Current research in anarchist studies
Carissa Honeywell, Anarchism old and new
Jonathan Purkis, The hitchhiker as theorist: Re-thinking sociology and anthropology from an anarchist perspective
Sandra Jeppesen Holly Nazar, Genders and sexualities in anarchist movements
David Goodway, Literature and anarchism
Laurence Davis, Anarchism and the future of revolution
Andy Price, Social ecology
Sara Motta, Leyendo el anarchismo a través de ojos latinoamericanos: Reading Anarchism through Latin American Eyes
Ian G. Cook & Joanne Norcup, Geographies and Urban Space
Süreyyya Evren, There Ain't No Black in the Anarchist Flag! Race, Ethnicity and Anarchism
Ruth Kinna, Where to Now? Future Directions for anarchist research

Part 2: Materials for further Research
Key terms
Resources
Bibliography
Guide to bibliographical and reference works
Selective guide to non-English language sources
- See more at: http://www.bloomsbury.com/uk/the-bloomsbury-companion-to-anarchism-9781628924305/#sthash.nrXyPgi1.dpuf







he activist.







Table Of Contents

Acknowledgments
Part 1: Research on Anarchism
Ruth Kinna, Introduction
Approaches to anarchist research
Saul Newman, Research methods and problems: Postanarchism
Benjamin Franks, Anarchism and analytic philosophy
Allan Antliff, Anarchism and Art History: Methodologies of Insurrection
Uri Gordon, Participant Observation
Alex Prichard, Anarchy, Anarchism and International Relations
Current research in anarchist studies
Carissa Honeywell, Anarchism old and new
Jonathan Purkis, The hitchhiker as theorist: Re-thinking sociology and anthropology from an anarchist perspective
Sandra Jeppesen Holly Nazar, Genders and sexualities in anarchist movements
David Goodway, Literature and anarchism
Laurence Davis, Anarchism and the future of revolution
Andy Price, Social ecology
Sara Motta, Leyendo el anarchismo a través de ojos latinoamericanos: Reading Anarchism through Latin American Eyes
Ian G. Cook & Joanne Norcup, Geographies and Urban Space
Süreyyya Evren, There Ain't No Black in the Anarchist Flag! Race, Ethnicity and Anarchism
Ruth Kinna, Where to Now? Future Directions for anarchist research

Part 2: Materials for further Research
Key terms
Resources
Bibliography
Guide to bibliographical and reference works
Selective guide to non-English language sources
- See more at: http://www.bloomsbury.com/uk/the-bloomsbury-companion-to-anarchism-9781628924305/#sthash.nrXyPgi1.dpuf







he activist.







Table Of Contents

Acknowledgments
Part 1: Research on Anarchism
Ruth Kinna, Introduction
Approaches to anarchist research
Saul Newman, Research methods and problems: Postanarchism
Benjamin Franks, Anarchism and analytic philosophy
Allan Antliff, Anarchism and Art History: Methodologies of Insurrection
Uri Gordon, Participant Observation
Alex Prichard, Anarchy, Anarchism and International Relations
Current research in anarchist studies
Carissa Honeywell, Anarchism old and new
Jonathan Purkis, The hitchhiker as theorist: Re-thinking sociology and anthropology from an anarchist perspective
Sandra Jeppesen Holly Nazar, Genders and sexualities in anarchist movements
David Goodway, Literature and anarchism
Laurence Davis, Anarchism and the future of revolution
Andy Price, Social ecology
Sara Motta, Leyendo el anarchismo a través de ojos latinoamericanos: Reading Anarchism through Latin American Eyes
Ian G. Cook & Joanne Norcup, Geographies and Urban Space
Süreyyya Evren, There Ain't No Black in the Anarchist Flag! Race, Ethnicity and Anarchism
Ruth Kinna, Where to Now? Future Directions for anarchist research

Part 2: Materials for further Research
Key terms
Resources
Bibliography
Guide to bibliographical and reference works
Selective guide to non-English language sources
- See more at: http://www.bloomsbury.com/uk/the-bloomsbury-companion-to-anarchism-9781628924305/#sthash.nrXyPgi1.dpuf







he activist.







Table Of Contents

Acknowledgments
Part 1: Research on Anarchism
Ruth Kinna, Introduction
Approaches to anarchist research
Saul Newman, Research methods and problems: Postanarchism
Benjamin Franks, Anarchism and analytic philosophy
Allan Antliff, Anarchism and Art History: Methodologies of Insurrection
Uri Gordon, Participant Observation
Alex Prichard, Anarchy, Anarchism and International Relations
Current research in anarchist studies
Carissa Honeywell, Anarchism old and new
Jonathan Purkis, The hitchhiker as theorist: Re-thinking sociology and anthropology from an anarchist perspective
Sandra Jeppesen Holly Nazar, Genders and sexualities in anarchist movements
David Goodway, Literature and anarchism
Laurence Davis, Anarchism and the future of revolution
Andy Price, Social ecology
Sara Motta, Leyendo el anarchismo a través de ojos latinoamericanos: Reading Anarchism through Latin American Eyes
Ian G. Cook & Joanne Norcup, Geographies and Urban Space
Süreyyya Evren, There Ain't No Black in the Anarchist Flag! Race, Ethnicity and Anarchism
Ruth Kinna, Where to Now? Future Directions for anarchist research

Part 2: Materials for further Research
Key terms
Resources
Bibliography
Guide to bibliographical and reference works
Selective guide to non-English language sources
- See more at: http://www.bloomsbury.com/uk/the-bloomsbury-companion-to-anarchism-9781628924305/#sthash.nrXyPgi1.dpuf







he activist.







Table Of Contents

Acknowledgments
Part 1: Research on Anarchism
Ruth Kinna, Introduction
Approaches to anarchist research
Saul Newman, Research methods and problems: Postanarchism
Benjamin Franks, Anarchism and analytic philosophy
Allan Antliff, Anarchism and Art History: Methodologies of Insurrection
Uri Gordon, Participant Observation
Alex Prichard, Anarchy, Anarchism and International Relations
Current research in anarchist studies
Carissa Honeywell, Anarchism old and new
Jonathan Purkis, The hitchhiker as theorist: Re-thinking sociology and anthropology from an anarchist perspective
Sandra Jeppesen Holly Nazar, Genders and sexualities in anarchist movements
David Goodway, Literature and anarchism
Laurence Davis, Anarchism and the future of revolution
Andy Price, Social ecology
Sara Motta, Leyendo el anarchismo a través de ojos latinoamericanos: Reading Anarchism through Latin American Eyes
Ian G. Cook & Joanne Norcup, Geographies and Urban Space
Süreyyya Evren, There Ain't No Black in the Anarchist Flag! Race, Ethnicity and Anarchism
Ruth Kinna, Where to Now? Future Directions for anarchist research

Part 2: Materials for further Research
Key terms
Resources
Bibliography
Guide to bibliographical and reference works
Selective guide to non-English language sources
- See more at: http://www.bloomsbury.com/uk/the-bloomsbury-companion-to-anarchism-9781628924305/#sthash.nrXyPgi1.dpuf