Jean Raspail's "The Camp of the Saints": Book Review

Recent flotillas of refugees from Africa and Syria caused a few bookworms and pundits to name-check this 1973 novel. Liberals practically put "scare quotes" around a mention of what they term a racist screed. Conservatives may praise it as a "classic." I knew of it way back via the maverick Garrett Hardin's perspective; he appealed if in different aspects to both ends of the political spectrum.

It popped into my mind the other day so I sat down and read it. It took two sittings. Raspail, as here translated by Norman Solomon, has a feverish, testy style that Michel Houellebecq, in his formative years in France, I suspect may well have come across. However, as Houellebecq's mordant fiction gains the same condemnations in bien-pensant right-thinking and left-leaning circles as Raspail's book, readers familiar with H. may find an encounter with R. bracing, infuriating, or baffling.

Raspail is credited on the blurb for The Camp of the Saints as a prize-winning author in his native land. Yet this novel flails from the get-go. The end of the story, or near it, jumbles up chronology. The sneering tone of the misanthropic narrator, the overabundant detail, the cardboard characters, the fact you don't care about anyone in the entire storyline: Raspail has scores to settle, but whether you'll be cheering him on or chasing him away depends not only on your own ideological bent, but your tolerance (a theme put through the wringer herein) for prattling. Raspail has it in for his countercultural era of the slightly aging hippies and the faux radicals of the early 1970s. He also despises the press, and some of the admittedly best barbs come as his narrator skewers the posturing.

I thought of the New York Times, for instance, when I found a similar send-up of earnestly PC journalists, who lambaste capitalism and despise corporations and capitalism in the same pages whose sponsors are those fat cats, and whose underwriting, so to say, supports the fulsome claptrap.

The key criticism, as Hardin reminded American readers decades ago, is that the "lifeboat" (here not symbol but story itself, multiplied all over the ocean as refugees set sail for Europe and the rest of whatever is the Western world circa 1973) cannot hold everyone. Either the rich have to share, and become poor themselves as such largess will not balance but tip over everyone into poverty, or they have to defend their realms with force, and "contempt" as Raspail later put it, lest they lose it all.

Odd tangents speckle this work. Clement Dio, a preening poser of the Third World solidarity his own bloodline allows him to capitalize on in more ways than one, is the best of a bad lot. But Raspail's mouthpiece hates worker-priests (back when there were enough clergy to go around), and the Dominicans (not for once the Jesuits) come in for comeuppance. Funny that one Benedict XVI reigns. Along with the Church, the unions, the press, and the military all get their turn at this "roast."

Yes, Raspail makes some points early on about the hypocrisy of the West, the implosion of its value system in a secularizing (well, not quite as it's still France in the post-Vatican II guitar mass phase) and skeptical society, and the contradictions inherent in the post-colonial world supported by the five (now more like six and a half) billion whose labor and losses prop up the seven hundred million whites. "The Last Chance Armada" makes a few at first hesitate but the pressure to welcome the human tide from over the sea leads many addled or idealistic Westerners, guilt ridden and excited to expiate their sins of neglect and greed, to proclaim "We Are All From the Ganges Now" as the first wave from India crests and others then join the exodus to the Northern Hemisphere, at least the wealthy part.

The narrative, such as it is, lurches through scenes of the army, a strange tangent with Benedictine monks, the chattering classes, a token couple from the working class, and those in factories and offices who find, as all anticipate the Easter Sunday mass landing of the sordid ships and their cargo, the early advantages taken by those in France itself who have earlier emigrated, and who maneuver their own prospects, eased by the care or fear taken by their "host nation," as it capitulates to them too

Interesting idea. Promising set-up. Fumbled execution. Fizzled climax. Ho-hum resolution as the narrator and Raspail seem too wearied or jaded to bother carrying on after so many pages of rants.
However, the relevance of this scenario cannot be gainsaid. Look at headlines. (Amazon US 6/5/17)

Lionel Shriver's "The Mandibles": Book Review

After nearly 130 reviews posted [on Amazon US, where this appeared 9/28/16], mine will not rehash much of the story. I like Lionel Shriver's little-known novel on the North of Ireland and while her take on obesity in Big Brother was less successful, I admire her willingness to immerse herself, whether the theme is snooker, bicycling, tennis, or a child who is a bit of a problem. So, as a fan of dystopias, I wondered how she'd handle the near-future economic meltdown of the Renunciation.

Turns out she puts enormous paragraphs in the mouths of not only the put-upon Georgetown professor of economics, but a teen prodigy. They wind up having to explain theory and practice of the "dismal science" to the family, which grows as hard times fall and never ebb in 2029. Shriver tackles the misanthropy and growing chaos well, if from the perspective of a hard-to-like matriarch of a privileged clan in Manhattan. True, pity is needed for those who as the prof notes have more than one pair of shoes, and to her credit, Shriver moves the family tale along rather briskly.

But as the professor lets on early, his pontifications are hard to let go of, and other characters speak like educated folks on paper, with almost no distinction. Only a burst of "black English" by one client of the protagonist of the first 3/4 of the novel seems to come from another class or reality. Still, seeing a New York streetscape where the homeless do include nuclear physicists in fact and not fantasy, and where the street people have their pick of Posturepedic mattresses discarded as the system breaks down and selfishness gives way to brutishness seems to confirm Hobbes.

She gets digs in. No more worries about lactose tolerance, or gender dysmorphia. Or, obesity, in the harsh reality that replaces coddling or comfort.

Oddly, in the last quarter of the book, from the view of a particularly annoying if prescient person, the presumed religious backlash to the surveillance of the resurgent US government is absent. Shriver succeeds as many writers have in showing us the New American Order, but she shrinks from the rural reaction, and her observation of the world outside NYC does not convince. As she divides her time between Brooklyn and London as a longtime ex-pat, perhaps she is too used to reading about her fellow 'Muricans rather than roaming beyond the chattering creative classes she likes to skewer. True, mango-wood side tables won't rouse much of a reaction vs. a 5 lb. bag of rice in 2029 where "dial 2 for English" is the new norm. Her predictions may come true--I fear that of the "cuboids" of dead trees once known as books may be hastened, despite her dire estimation of Amazon itself in this brave new world. Anyone having read Huxley's tale may find The Mandibles an echo, if another uneven message.

John Andrew Fredrick's "Your Caius Aquilla": Book Review

This musician-writer-professor revels in wit. His pair of The King of Good Intentions novels enlivened the indie-rock scene in Los Angeles in the 80s, while his band The Black Watch continues to make spirited and smart rock.(Start with his newest album released around the same time as this, The Gospel According to John.) For Your Caius Aquilla, John Andrew Fredrick plunges into an earlier era filled with corrupt politicians, windbag pundits, and callow military men determined on imperial domination: "We enslave the ones we don't like so they can have the privilege of living or loving Rome." So laments the titular protagonist, whose letters to his wife back home in the capital comprise the first half of this entertaining tale. Caius is fighting what his spouse Lora agrees are but "admittedly superfluous barbarians," and he itches to come home to his family and especially her.

The barrier to this reunion is the extended tour of duty, as there are always more miscreants to kill off. Battle scenes are conveyed with Rabelaisian verve and Joycean excess. It's told in a chatty, slangy prose that runs together. Think of Roman inscriptions carved without punctuation or breaks.

However, these headlong blocks of text go on for pages. They can overwhelm the reader. I recalled C.S. Lewis' advice in taking in poetry. Not to slow, but to keep pace, to hear the voice race forward.

Halfway in, Lora's responses begin to fill the tote bag back to the front, or so it seems. The twist I leave to you to find out, but this fiction does reveal in JAF a heretofore occluded display of his erotic energy. From this point on, the shift in tone and content spurs one to the conclusion. In the manner of clever narratives, the author keeps you turning the pages, wondering where Lora's candor will wend.

Along the headlong way, nods to Proust, Hamlet, Aristophanes, the Life of Brian, The Autumn of the Patriarch (at least for me in the refusal to indent), The Tin Drum, Goodfellas, The Smiths, and (not only for the tennis product placement) David Foster Wallace appear. So do the pleasantly antiquated terms such as roisterer, cove, and rodomontade, from the period the professor specializes in way back

It's fun to think of the couple's son Aurelius complaining about lessons with Cicero, too. "I don't want to have to be so logical all the time." This attitude also infuses these pages, And humor is welcome in these parlous (same as it ever was) times. I end with one of the many lively phrases JAF offers. For all the intended cliches ("just sayin'"), the originality (at least to me) of such as "an apple that looks like your great aunt after she's fallen asleep in the bath" linger as testament to JAF's inventive talent.

Yes, it ends suddenly. So did the first installment of "TKOGI." That makes me wonder if more is in the offing from Caius A. After all, it worked for Robert Graves' Claudius chronicles. (Amazon US 4-23-17. Book's website. And, author's website.)

Tom Wolfe's "The Bonfire of the Vanities": Audiobook Review

Overall

Performance

Story

"You turn into a cipher"

Would you listen to The Bonfire of the Vanities again? Why?

Probably not, but I liked Joe Barrett's reading. It enlivened a book I read when it came out, thirty years ago. But I don't need to visit this story a third time.

Would you recommend The Bonfire of the Vanities to your friends? Why or why not?

For a period piece, a morality tale pre-Internet and social media, it remains a valuable dramatization of the pressure of what the 'flak catchers' Tom Wolfe profiled endured two decades later in the Bronx. This time, it's the legal profession, not the (other) bureaucrats.

What does Joe Barrett bring to the story that you wouldn’t experience if you just read the book?

Having enjoyed his reading of John Irving's "A Prayer for Owen Meany," Barrett here can show off his range of voices and accents as he has many more characters to work with. While the "haw haw haws" on Wolfe's page still grate to the ear here, the verve and pathos Joe Barrett brings to the protagonist, Sherman McCoy, deepens the novel and message.

If you could rename The Bonfire of the Vanities, what would you call it?

"Pin the WASP to the wall"--a phrase used by Sherman's persecutors

Any additional comments?

Ch, 22, a descent from the Dickensian satire into Dantean depths, is harrowing and very well told. One of the longer chapters, but the book generally moves along well. Despite dinner party chat in real time, and those Tom Wolfe elaborations of sartorial and decorative detail. (Audible US 3/5/17)

Jonathan Swift's "Gulliver's Travels": Audiobook Review

"Not the children's book you think"

Where does Gulliver's Travels: A Signature Performance by David Hyde Pierce rank among all the audiobooks you’ve listened to so far?

Near top tier. Excellent choice of narrator. David Hyde Pierce is perfectly cast and poised.

What did you like best about this story?

The upending of the first part is familiar: big meets small. Then small meets big. But the latter parts, where the mind is inflated into the arbiter of all, and then the body prolonged beyond endurance, speak better to Swift's legacy, for these issues remain relevant today.

Which scene was your favorite?

The last section with the inversion of horses as dominating humans is coruscating. It's cutting satire and it stings deeply. All the same, Jonathan Swift's compassion mixed with his disgust for human cruelty and animal dignity resonates, in ways we may me recognize more than three hundred years ago for his audience, at least those tuned into sentient creatures.

Did you have an extreme reaction to this book? Did it make you laugh or cry?

I did snicker. While the Laputan third part was less interesting than I recall from high school (imagine this book being assigned in most places now, given its NSFW content and offending sensibilities couched in a courtly high style few perhaps can now appreciate), it held up despite this slow spot, for the novel from then on reaches its horrifying climaxes.

Any additional comments?

As above lauded, the pairing of Pierce and Swift is praised. The actor brings out the wit and the pain in the pages, and he renders the difficult registers of some of the high-flown rhetoric of which Swift's a master into entertaining adventure and instructive warnings of human follies. The messages of this often diminished (!) tale remain lively and surprisingly applicable, in life-extension and in animal rights as well as servitude and inequality, today. (Audible 11/7/16)

John Kennedy Toole's "A Confederacy of Dunces": Audiobook Review

 

""Oh my God!""

Where does A Confederacy of Dunces rank among all the audiobooks you’ve listened to so far?

Up there more for the energy of the plot and the depth of characters and the skill of the telling than Barrett Whitener's performance. I grew to like it, but it has its challenges.

What did you like best about this story?

The twisted relationship with correspondent "The Minx", as well as the "Oh my God!" bursts regularly from our bloated protagonist Ignatius J. Reilly at every outrage he witnesses.

Which character – as performed by Barrett Whitener – was your favorite?

George, the prissy foil who turns confidante to Ignatius in a skillfully paced conversation that shows off the talent of John Kennedy Toole. Toole builds up both interlocutors so that the naivete of one and the conniving of the other get switched and jumbled as well as run parallel. JKT handles the tone of each of his lowlife participants deftly, from New Orleans.

If you were to make a film of this book, what would the tag line be?

Hotdogs and Pigtails

Any additional comments?

Burma Jones is not easy to convey "live"; Whitener began the novel sounding in the omniscient narrator's voice as far too neutral and robotic. The women are shown with varying degrees of success, and the registers of different N.O.L.A. dialects and timbres is no easy task to keep moving here. The plot does go into a lot of side stories, building slowly, but the value of "A Confederacy of Dunces" rests in the care JKT takes to portray each figure. (Audible US 2/16/17)

Bernard du Boucheron's "The Voyage of the Short Serpent"

Yes, that title is symbolic. This short novel can be read in a sitting. It takes a mock-medieval style to report, from alternating and eventually contrasting narrative voices, what happened on an episcopal mission commanded by the Pope to reclaim the Norse lapsed into heathenry in faraway Greenland.

It's more of a conceit than a full-fledged work. Hester Velmans' translation may capture the starched, satirical, and savage qualities of the original French, but the effort feels fussy and overly stylized in English. So does the effort to which the author strains to capture the tone of a chronicle or correspondence, given the friction of the attempt to counter the wiles of the Inuit, here titled "publicans," who lure the dwindling Norse into their seal-hunting, sexually suspect and sinful mores.

A few good lines show the potential. Early on, frostbite claims victims on the bishop's ship. Having been forbidden to eat their own rotting flesh to survive, one shipmate rebels. "One of them replied that the season was not Lent, and proceeded to devour his own toes." I admit I liked some of the dour and deadpan recitals of increasing woe, as the rescue attempt to scare and shame the Norse back to Christian fidelity, compared to the odd temptations of dissolute abandon among the natives, lure the Catholic contingent into their compromises, to survive in New Thule increasingly hostile threats. (Amazon US 11/25/16)

Alex Ogg's "Dead Kennedys: Fresh Fruit for Rotting Vegetables: The Early Years": Book Review

Intended as liner notes for the 25th anniversary of this punk album, Alex Ogg's project had to wait five more years for what turns into a longer book on a thirty-eight minute 1980 LP. Legal disputes over songwriting credits, added to the protracted resentment between singer Jello Biafra and his bandmates, notably guitarist East Bay Ray and bassist Klaus Flouride, tested the patience of the author and the Dead Kennedys, past and present. This story, told efficiently by a veteran chronicler of punk, reveals that the American underground in the late 1970s could match the best of the British punks when it came to political commentary paired with feisty music. Furthermore, unlike so many righteous punks before and after the DKs, this San Francisco outfit retained its sense of humor. However, as an Angeleno, growing up a near-contemporary of the band, I challenge Ogg's claim that this was the peak of proto-hardcore. To me, the band's debut resembled the blur and buzz of the Germs' first LP. I'll admit that unlike that short-lived L.A. band, the DKs outlasted Reagan's first term. Ogg as the subtitle shows narrates the start of it all, but he stops very soon after the album's release and their first tour.

How the DKs scaled the summits of the American independent label punk scene so rapidly, Ogg reminds readers, can be credited to their discipline. More on the intellectual influences informing the band members might have answered the question of how they managed so quickly to create two classic singles, "California Über Alles" and "Holiday in Cambodia". Within this milieu, few dared to roam beyond a few "provocative" topics. Most punk bands preached against racism, some against sexism, many against conformity, as expected for spiky non-conformists to conform.

Biafra, raised in Boulder, Colorado, and apparently embittered at delivering pizzas to smug lefty college kids his own age (he dropped out of an equivalent institution early on, the University of California, Santa Cruz, tellingly), decided to widen his target range. He spoke for an overlooked echo-boomer generation, coming of age during Watergate, too young to be hippies, but who had to listen to those not much older ramble on over and over about how great it was then and how dismal it all turned out by 1980, as youth woke up from years of Carter's malaise on the morning after, snuggled or smothered by Reagan's revived or reviled "values".

Although now a balding, gray statesman in cahoots with the state's prison guard union, cutting deals with corporate sponsors, while managing in his return to rule to convey a pale-Green image in keeping with his earlier gubernatorial reign, Jerry Brown for the late 1970s represented to this band a "Zen fascism". Risible though this seems to this Californian critic in retrospect if not to Ogg, who takes this (semi-)seriously from the mouth of Jello, this song roused "the suede denim secret police" who were bent on arresting "your uncool niece". Evoking Nazi imagery if spinning the shock value trafficked in such regalia by certain punk colleagues, "Come quietly to the camp/ You'd look nice as a drawstring lamp" conveys its own uneasy message. Biafra's message, within the jerky anthem's campy medium, either strengthens or weakens its lyrical conceits. The song lives on, covered often.

Its follow-up, "Holiday in Cambodia", has garnered fewer cover versions and parodies. It's a darker song, as its Pol Pot theme dramatizes, and it's more disturbing. It castigates those smug Boulder or Berkeley collegians, those who curry favor with bosses, those who pretend solidarity with the masses. It contrasts this mindset with what would happen when the self-proclaimed progressives of the West go East: "Well you'll work harder with a gun in your back/ For a bowl of rice a day/ Slave for soldiers till you starve/ Then your head is skewered on a stake." Ogg skirts extended exegesis of these two songs, assuming that readers as listeners probably know them well, but he does take pains to, in true rock journalist fashion, tell us about the vintage tube microphones used to capture this song's roar.

Without the churning, Echoplexed, surf-tinged guitar of East Bay Ray, Klaus's doom-laden bass, and drummer Ted's bashing backing, these songs, for all their lyrical baiting, would not have succeeded. Ogg credits Jello's voice as a "human theramin" and attributes a Kabuki-like ranting and wailing for impact. Many listeners to the band, myself included, have found Biafra's self-consciously theatrical delivery trying, but in live shows as on record, the DK's sought to stand out from punk yammering.

Boosted by Geza X's production of "Holiday", these singles remain arguably the band's best vinyl moments. Geza X (member of the L.A. band the Bags, on production he crafted early releases from Black Flag, Weirdos, and the Germs, as well as San Francisco's Avengers) labored to make this song wail, so it's a shame that Jello's wish for him to produce their first album was rejected by the rest of the band. To me, this decision dulls the sonic power of Fresh Fruit, and it feels muffled as a result.

Recorded for $10,000, the album appeared in 1980 on the British indie label Cherry Red. Ogg reminds readers that between the Dickies signed by A+M in 1978 and Husker Du by Warner Brothers in 1985 (and by then, they were not really part of this scene anymore), no American underground band had been issued on a major label. The DKs started Alternative Tentacles to issue their records.

Distributors IRS had balked, due to a distant Kennedy acquaintance, from releasing the album, for the barbed band name (amazingly or inevitably, preceded by a Cleveland band who then declined to go on with the same moniker) led to many double-takes and dead-on-arrival rejections by the record industry. Tracks included hints of musical influences as diverse as Duane Eddy's guitar, Buddy Holly's vocals, MC5's slogans, and Sparks' lyrics, attesting to the band's affection for their childhood idols. It ends with a throwaway cover of Doc Pomus and Mort Shuman's "Viva Las Vegas", made famous by Elvis Presley. True to the LP's prickly, brooding, snarling vibe--part Travis Bickle, part Mothers of Invention--the production was credited by the band to the friendlier of engineer Oliver DiCicco's two cats, Norm. Neither Lester Bangs nor Robert Christgau welcomed the record; the latter critic disdained its "Tiny Tim vibrato". Biafra sneers throughout the entire record, true, but this "sustains" Ray's guitar tremelo; it suits the frenetic delivery Jello Biafra adopts for his stage persona.

The original band was already splintering during the making of the record, with second guitarist and oddball even by DK standards 6025 soon departed. A new drummer stepped in--later to claim some of those songwriting royalties which have earned the ire of Jello vs. Klaus and Ray, one learns if in diplomatic fashion via the long-suffering journalist Ogg who patiently hears each side out as they argue. This underlying subplot, still rankling these early band mates today, provides a telling coda to the ambitions of many in the punk era to make a career out of their passion, vs. the compromises the original lineup fended off in their attempt to remain independent of corporate tentacles and truisms.

"Yakety Yak" compiles quotes about the band and album by celebrities in and beyond the rock scene. A closing chapter by Ogg's co-author of The Art of Punk, Russ Bestley (reviewed by me 22 October 2012), titled "Grafical Anarchy" shows how collaborator Winston Smith (who legally changed his name to that Orwellian protagonist) conspired with Biafra to create collages inspired by Situationists.

The LP cover never got the reproduction Judith Calson's San Francisco Chronicle photo deserved. This was taken during the "White Night Riots" following the short sentence handed down to Dan White after his "Twinkie Defense" for the shooting of Harvey Milk and Mayor George Moscone in 1979. The front cover shows three police cars on fire; the back cover shot of a hokey music combo led to lawsuits by one of its members, so this image was defaced or replaced on later pressings. This pattern would repeat during the band's career, although Ogg avoids much mention of more litigation.

The political subtext of the band gains some attention by Ogg, but how the members gelled to create these singles and the album from a perspective tinted by their predecessors from the 1950s and 1960s whom other punks might have disdained needed more elaboration. Bestley gives a nod to this crucial continuity as context links what the San Franciscans were doing, with jarring détournement (literally "re-routing): cut-up montages from ads, photos, and pamphlets arranged to shake the viewer up. Smith's Fallout Magazine helped rally recruits to the DK cause, but its contents and range do not earn the coverage that could have explained how printed texts and posters widened the band's DIY appeal. Certainly AT's mail order reach, and diligent product placement in indie record stores, accounted for the international audience the band garnered early on, into their heyday, and up to today. Given Bestley and Ogg's knowledge of these multimedia within political punk, more coverage was needed.

Jamie Reid for the Sex Pistols and Gee Vaucher for the English anarchist collective Crass served as counterparts in this guerrilla art form of collage as cultural critique. This packaging boosted the Dead Kennedys' impact. The band and Smith wrapped its records in striking artwork and album inserts. Among punks today, their red-and-black logo endures, but Ogg and Bestley glide past how those two symbolic colors might or might not stand for the band's principled assertion of anarchy. The band's commitment to radical politics as well as pranks and poses needed more elaboration.

Yet, as Biafra (an eventual Green Party presidential campaigner, he came in fourth in a nine-way race for S.F. mayor in the fall of 1979 to replace Moscone) reminds Ogg, Jello mused on what the DK's might achieve: "imagine if Crass was funny". The DKs were. Whether this ensured their success or failure, you are left to ponder, given the eclectic evidence Alex Ogg, Bestley, Smith, and photographer Ruby Ray present for our inspection. (6-13-14 to PopMatters + edited to Amazon US)

Michel Houellebecq's "Submission": Book Review

While the release of this book in its original French will be inevitably tied to the article about its author, Michel Houellebecq, featured in Charlie Hebdo the week of the Parisian murders of its staff and other innocents last January, the novel itself merits attention.

Readers of Houellebecq's previous fiction will recognize familiar elements. The discontent of his early middle-aged, educated, ornery French narrators in Whatever and The Elementary Particles repeats. The unease in {Platform} that lust brings to those with sagging bodies and ebbing desire persists. The longing for an escape from a declining European culture returns after The Possibility of an Island with its utopian fantasy, and aesthetic debates dramatized in The Map and the Territory.

After this newest novel's French publication, critics sought to blame, once again, its satirical author. Inevitably, Soumission entered the bestseller charts in first place. Some on the left regarded its themes as needlessly provocative. Many called them racist, appealing to baser instincts among French nationalists. Taken by English-language audiences at more of a distance, these issues may recede.

If treated as another in a series of Houellebecq's jabs at coddled liberal sensibilities, Submission loses some sting. Houellebecq proves rather, once again, he delights in the novel of ideas. He places his narrators within unbearable situations. We then watch them try to wriggle free. Within a French situation where the thought-police seek to patrol the sensibilities of all who reject secular platitudes as much as they may religious ones, the topics Submission investigates enrich its suggestive title.

Suffering from "andropause," our forty-something narrator encounters the steady decline of literature, values, culture and his libido. The teller of Submission is an expert on J. K. Huysmans, who over a century ago startled an earlier French readership with decadent novels, considered "sodomitical" and Satanic. Like Houellebecq, Huysmans' erudition enhanced his fiction's barbed, bohemian contents. Unlike Houellebecq, Huysmans began a gradual conversion to Catholicism; he eventually lived, if in less than austere style, as a lay oblate attached to a Benedictine monastery. Houellebecq had drafted this novel with a template of a protagonist emulating Huysmans' path; this story becomes in the revised version we have its sub-plot. Meanwhile, the main plot dramatizes French Islamization.

For an acerbic author regarded as unsentimental, Houellebecq begins this novel with a tender, if bitter, homage to the power of literature. It channels for the living the voices of the dead. Directly, by no other means, a reader can enter by a book into the mind of its creator, the spirits of the departed.

The narrator loves this quality. In his dissertation on Huysmans, he sums up an outlook in common with Houellebecq. "Even as he grew to despise the left, he maintained his old aversion to capitalism, money, and anything to do with bourgeois values." The professor avers that "the only thing left to people in their despair was reading," but that solace is chosen by far fewer than in Huysmans' era.

Instead, much of the initial action in this fiction, concerned more with lofty concepts than realism or politics, takes place in languid dialogue or heated exchanges between the narrator and a louche colleague at the University of Paris, Steve. The protagonist spars with him often, in "that odd ritual,. part buggery, part duel" that is "conversation between men." When the teller is jolted enough by the violence breaking out as the far-right spars with Islamic factions during the Presidential primary, the empty rural roadscape he sees, static on the radio, a clerk shot dead at a convenience store, feels less real and more contrived. It is akin to horror as glimpsed in a J.G. Ballard novel, drained of emotions.

After all, Houellebecq detaches himself from his narrator--and through him. He leaves enough of the Huysmans-driven plot to move him along, as he attempts a retreat himself at a Catholic monastery. But this fails. He has no deep contempt for his former "fellow believers" who cling to the Church. Rather, he blames "laicism" and "atheist materialism" for the death rattle of Western European values. This critique carries more weight in France than in the U.S. Despite Lorin Stein's flowing translation, readers of Submission distant from the issues that divided France after the Charlie Hebdo shootings and those limits or liberties of freedom to mock any religion may feel that this novel's impact fades.

What international readers, who may be baffled by the dense if understandable references to French media pundits and political maneuvers, are left with is a more classic contribution to a French model. The narrator who employs satire to comment on his homeland from abroad, reporting from a fabled or foreign land, emerges. As Montesquieu's Persian Letters or Voltaire's fiction transported French concerns to imaginary lands, to sidestep censorship and clerical reaction, so Houellebecq places his nameless narrator within a French polity a few years into the future. In Submission to counter a threat by Marine LePen and National Front, other French parties cast their lot with the Muslims. We hear far too little about what follows in practical terms. This lack weakens the novel's impact. Yet the tale-teller laments, typically, the loss of the ability to admire women, now that so many are veiled.

The indulgence granted such a sly teller of edgy commentary enlivens comparisons between French and Muslim mores. Late in the story, the scholar's supervisor--who has converted to the faith that has bought the Sorbonne with Saudi money and rewarded those faculty who give in--links "woman's shamanism to man, as it is described in The Story of O, and the Islamic idea of man's submission to God." The appeal of bonus brides as recruited from two or three female students from the realm of Islam, who are the few remaining who enroll in literature classes at the University of Paris, beckons the narrator to contemplate joining the favored elite of Muslim converts. Huysmans' path diverges from those 120 years later in this French novel, but Houellebecq and his narrator agree. If he submits to God's call, this dissolute intellectual will find favor in the eyes of the pious, and the well-endowed.

We leave this predicament as the protagonist mulls over his choice. Will he embrace "a chance at a second life with very little connection to the present one?" He admits, "I would have nothing to mourn." Christian France is dying. With the nation under Muslim leadership, in a coalition with the Socialists and a center-right party, such are parliaments in a strange land of the near-future, those who wield power and issue paychecks have changed. At this point, the novel sidles away. Submission chooses to remain chary about the full force of such momentous transitions. It prefers to stay coy, and like the delights of the women hidden behind gowns and veils, it retreats into its own fantasy again. (Amazon US 10-20-15; Spectrum Culture 11-8-15 a few days before the [latest] Parisian massacres.)

Paul Murray's "The Mark and the Void": Book Review

An Irish novelist, Paul, has an offer for Claude Martingale, a French research analyst working for a Dublin investment bank. Why not feature in his next book, depicting, a century after Ulysses, a citizen's everyday life? After all, Paul reasons, the "humanity in the machine" exists in such offices and towers, and "we're all being narrated" within not the printed page, but on screens by our media.

So begins Paul Murray's The Mark and the Void. His third novel continues the quirks of An Evening of Long Goodbyes (2003) and the experiments of Skippy Dies (2010). The entrance of an author into his creation is not new. Fans of the film Adaptation, or the satire At Swim-Two-Birds by Flann O'Brien, will recognize tropes as the inventor finds himself outwitted by those who resist his machinations. To keep such a tale convincing, a writer must convince us of his control over his satire.

Whether this works or not for The Mark and the Void challenges the reader. Paul through Claude and his colleagues at the Bank of Torabundo tries to capture the "narrow minds and broad hearts" of today's Dubliners, often immigrants to a city they make over and live within as if any other. Stripped of much of the local color that enlivened Joyce's epic, Murray's city has had its Monto "Nighttown" red-light quarter overshadowed and obliterated by the high rise mercantile powers and corporate multinationals. This context, after the collapse of the Celtic Tiger boom and during the austerity cuts imposed upon Greece and Ireland, darkens the sheen of those symbols of capitalism and speculation.

Complicit in these schemes, Torabundo's employees transform. They realize that business' true purpose aims "to replace the shifting, medieval labyrinths of love with the broad, sanitized avenues of materialism," rational reordering of the "lightless, involuted city of the self." Leopold's Bloom finds his concerns outmoded. Paul's Claude hears his calculating author argue for a shift to the web. There, the novel will be replaced "to preserve the illusion," where one can fall in love, and stay in a story forever. Paul tries to entice Claude into investing not in his next novel, but in a novel invention. Myhotswaitress.com attempts to provide a lonely searcher with a way to follow the waitress of his choice, by surveillance and by catering to his dalliances, discreetly and at a safe, tempting, distance.

A spin off of Cyrano de Bergerac's courting through another voice enters this narration. But Paul Murray appears as restless as his own stand-in, Paul. The Mark and the Void tries to take on the ethics of the gift economy, the plight of Dublin's poor as "zombies" haunting the banks who did them in, and how prostitution has morphed between Joyce's time and ours into servicing the rich and the greedy. Next to the Famine memorial by the river Liffey, paid for by wealthy sponsors, this novel reminds us that the banks still loom high. There, "the night sky is reflected and intensified in the louring windows of the corporate towers, as though they were mining darkness for the air, storing it within them." This passage demonstrates the force of Murray's prose, as it dissects Dublin's dire vista.

Havoc ensues late on. But the depiction of the River Liffey about to overspill those concrete banks, under the stolid gaze of the banks above, fails to convince, and Murray keeps piling on the intricacies of banking that lack a punch on the page. Claude and Paul want the Irish to succeed, but will they?

Near the end, a German colleague opines that given the clerical domination of Ireland for so long, the natives "already believe they are born in debt, a terrible sin, which they can never pay in full. A people like this is more comfortable wrapped in chains." The value of Murray's novel lies in the unsparing gaze he casts, through his alter ego Paul and through his narrator Claude, into the frail shell surrounding the glitz and the shimmer of Dublin. While it rambles and spins about in a manner not unfamiliar to readers of such self-referential and many-layered narratives, The Mark and the Void reminds audiences of the human costs beneath the rise to fortune of a few manipulators of our money. (1-7-16 to the New York Journal of Books)

John Andrew Fredrick's "The King of Good Intentions II": Book Review

 
A fresh novel about the travails of a struggling musician on L.A.'s indie-rock fringe, this sequel to The King of Good Intentions continues the story of John and his jangle-pop band, The Weird Sisters. Likely at least semi-autobiographical, narrated after all by John with frequent asides to us, this takes up the tale on the 5th of April, 1994, the day Kurt Cobain died. While only Raleigh, the new drummer, feels bereft by this news as the band ends its West Coast tour in their woebegone van, John, and his fellow Sisters girlfriend Jenny and bassist Rob, convey their own emotions, as they contend with the usual litany of woes on a tiny record label's budget, and their dreary day jobs. It's similar to the late-career Spinal Tap playing puppet shows and pizza parlors, sans wigs or bombast.

They realise the long odds, for 'there are zillions of Nigel Tufnels out there, in Technicolor verisimilitude, readying their teapot tempests, viewing their at once shrunken and little self-important lives through metaphorical shrink wrap.' Frederick, who teaches college English while fronting for decades The Black Watch, connects commentary with comedy, erudition to emotion. He takes more chances in this second novel, too. Consider, in extended set-pieces of a dozen or twenty pages, the maximalist style and elevated diction which Alexander Theroux's books exemplify. 'Eudaemonic snowman', 'plethoric poses', 'untinctured marzipan', and 'orgulous orbit' speckle a ramble on musicians' follies. Dr Johnson and The Rambler, besides, earn name-checks, alongside Bloom and Hobbes, Hamlet and Macbeth, Plato and Chaucer, Karen Horney and Jean Renoir. Not your usual rocker's lament from the road. Ten pages on terrible tours entertain; so do those on a break-up, travails of record-label workers, and a diversion starting on L.A.'s woeful buses and ending in death.

Fredrick stumbles here, however, when cliches about Westside mini-moguls and riffs on a bigoted ex-pat posse of Brits in Santa Monica and a visit to randy Jewish doctor fall flat. 'Sony Bono' is a great typo, but too many others mar the prose's flow. All the same, for 450 pages, this roars along, in overdrive for the frenzied satire, downshifting for clever flirtation or existential lament. You feel the 'ass death' of sitting in the van, you smell the farts. In the middle of a Central California highway stop, the prose bursts into 'what atrocious colloquies one has to have in bands'. The Sisters contend with musical marginalisation, a post-Kurt grunge mood. Their miniscule fan base of twee chicks and twinkly critics remains so, and their psychedelic-fuzz, lyrically literate CD languishes undistributed.

But these, fans or not, delight. Bob Chalet of Bob Chalet Records, truculent publicist Sylvia Doum, Brit bar bore Barnacle Bob, Jen's father the whingeing Ogre, the fanzine scribe Flake with 'skin like the inside of a candy bar wrapper' move the story along, even if John in his frustration with the mechanics of fiction relegates plots to cemeteries. For this picaresque tale recalls its 18th-century predecessors, the London scribblers of the demi-monde. Fredrick integrates his academic training in this period with dissecting late 20th-century foibles, and his scholarly bent enriches this narrative.

The results, which begin and end in medias res (for this saga will turn a trilogy, we are told early on), capture John's tetchy voice, a winning if often whining one. It can be bright, as with romance, or dim, as when a nervous breakdown invokes 'The Waste Land, stripped of...nothing.' While admittedly 'long on material for jeremiads like this', it deftly conjures up Ulysses and The Great Gatsby as it ends. And with the promise of The Hollow Crown, we will welcome the conclusion of the Weird Sisters' spells.
(Slugger O'Toole with an additional paragraph; as is above to Amazon British + US 12-11-15)

"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

Follow what leader?

As I've been covering discontents with our current social, political, educational, and economic systems, I range across the spectrum when finding material to comment upon and share here. What I was thinking as I scanned hundreds of entries at LibCom last night for some reading material was how often stolid prose and stodgy statements stood in for entertaining as well as instructive texts. On a forum about recommendations for working-class literature, one comrade's dictum stood out. "the novel is anti-working-class." Perfect. At least I learned about Arundhati Roy's novel, too. Some remembered such gems as James Plunkett's depiction of the great Dublin lockout and strikes, Strumpet City, as well as the usual (not to be diminished by that) Orwellian allegories, Marge Piercy's feminist futures, Kim Stanley Robinson's trilogy on Martian terraforming, Jack London (whom at least lefties still read), John Dos Passos, and even the depressing Studs Lonigan. Like JDP and James T. Farrell, Victor Serge was cited (much more) but with a proviso as to the unsanctioned ideological drift (to a right-wing or Jeffersonian populism in the American duo or an insufficiently early denial of Stalinism in the Russian instance. Every committed cadre condemns everyone else as "sheeple."

I wound up only downloading the George Woodcock pamphlet from the depths of WWII, "The Tyranny of the Clock." It is exactly what you'd expect. Like a lot of protest prose, it charts the predicament we are in, challenges the status quo, and then leaves you mulling over... what's next?

So, I opened my FB feed to find the reliable Liam O'Rourke in his Irish Republican Education Forum adding a bit of levity. "The Marxist-Leninist Theory of Humor" is credited to McLaughlin, Tom. "The Marxist-Leninist Theory of Humor," Catalyst, no. 9, 1977, pp. 99-102. I cite two paragraphs to wit:

          Socialist Seriousness.

Under Socialism there will be no classes and consequently no class conflict. Humor will cease to reflect any objective reality and will wither away. Consequently, those who engage in humor after being admonished by Party members will be clearly identifiable as saboteurs. It will be necessary to root out these weeds from the collective farm of Socialism. However, such saboteurs may prove skillful in hiding themselves. It will thus prove necessary for skilled Party members to ferret them out by engaging in humorous dialogue. If, for instance, a suspected saboteur is found to be cognizant of the answers to riddles, or if he replies to the Party member's encouragement by telling jokes, then such a person must be subject to Revolutionary Justice. It is suggested that the death sentence would be appropriate. This should be administered while the criminal is heavily dosed with helium (laughing gas), so that his "laughing death" may prove a suitable object of horror and negative reinforcement to the broad masses of workers and peasants.

Humor will of course continue to be necessary in relations between socialist and imperialist countries as the class struggle continues on the international stage.

This article spoofs the dead hand of Marxian promulgation in similar terms. It made me smile. I presume despite his familiarity with Freirean anti-authoritarian schooling in New Mexico, the director and star of Billy Jack did not write this. I like that he shares the same name, all the same.

So did a post under it directing me to "Flakes Alive!" in The Baffler. DSA member Amber Frost (a name worth a chuckle at least to me) reports on the Left Forum, which evolved from a Socialist Scholars Conference that twice, in the '60s and '80s, flamed up and flared out. Similar combustibility erupted at this NYC gathering. Apparently anyone can pay their fee and get their slot on a panel (and I thought 15-20 minute conference papers were enough). So, 400 events and 1300 speakers result. 

Frost laments the "tankers" (the pro-Man of Steel gang), the truthers (9/11 is apparently a racist hoax against Muslims--whose racial component eludes me, as any reader of Malcolm X's epiphany on his flight to Mecca might agree), and the perpetually aggrieved "marginalistas." She confesses: "there is something truly dispiriting about not being able to distinguish self-identified radicals from the parodies of us imagined by the right wing." Hearing Middlemarch on endless audiobook, I heard the phrase "self-cherishing anxiety"--this sums up the eternal grievances of a conspiratorial mind.

Studying Peter Marshall's massive Demanding the Impossible: A History of Anarchism last year, I was struck by how prescient parts (and not other parts that were pro-feudal and quietist) of the Tao were as to those of us who can't buckle under, and how despite perhaps placid surfaces, betray restlessness at injustice, top-down imposition of inequity, and relentless push for profits, not peace.

There's a lot of reinvention of anti-statist and anti-corporate strategies. But it reminds me of start-ups competing for the venture capitalist's nod in and on Silicon Valley. Lots of young folks burning out while the older, seasoned pros sit back, often tenured and satisfied rather than D.I.Y. and hungry. New generations arrive ready for action, and as cannon fodder for the alliances and collectives, they give freely of their energy until the struggle becomes too much to continue when children arrive and insurance must be paid. This is "impossiblism" as some radicals phrase it: the idea that prefigurative ways of living cannot be sustained now, and the mentality that capitalism forces dissenters to give in.

As I have stated last week, even the Bernie Sanders campaign, I fear, will only deliver a protest vote to Hillary after he has (temporarily and cynically for her) tapped her to lean a bit left of center to swing a few states. Where else will voters for a semi-, if co-opted, democratic socialist turn anyhow? Where can those of us nagging ourselves and you for a more just, equal, society turn, if not to leaders? That is the question and answer of anarchism. In a world where fending for ourselves with reliance on the kindness of supporters rather than strangers wrangles out small niches for survival, this possibility beckons. Weighed down by bills, taxes, responsibilities, how many can embrace it?

Syriza encounters immense difficulties as academics try to run Greece; the Greens regularly march on to little notice at the back of the progressive parade, and the bipartisan fat-cat network bloats and boasts. If Occupy was crushed by Democratic Party indifference, GOP mockery, and the security state collusion which both parties insist upon, what traction does an alternative challenge sustain? Over and over, it's lessons that repeat. Their repetition must speak to our idealism, and our naivete.

"Like a fifteen-year-old who’s recently discovered punk rock, the nouveau “Social Justice Warrior” crowd frequently presumes an undue sense of ownership over incredibly basic, nearly ancient ideas." Frost here may sympathize with me. Many act as if they invented some concept, and like academics or concertgoers at "festival seating" or us on airplanes, they fight over very small expanses of space.

Her whole essay is worth the time. Certainly as my recent train of thought continues, I concur with Terry Eagleton's weariness. In a 2012 interview with the Oxonian Review after Occupy and as Greece revolted against austerity, he noted the advantage of a downturn. "Not deserting politics but trying to add a depth to it, and also, in doing so, breaking with the holy trinity of class, race, and gender. Vital topics though they are, they’ve become such tram-lines on which the cultural left has been moving."

Frost also calls for momentum. She concludes by reminding us, however, that forums may not be it, or more fringe squabbles and academic blather. "It’s quite possible the left is at a pivotal moment in political history: these days, Americans actually like the sound of socialism, and the potential for building a new base is incredibly encouraging. But as much as we should be looking to expand, so, too, must we refine our project. The marginalistas distract, disrupt and deter future comrades. So it’s high time we get a little exclusive: tankies, truthers and tofu may supply a steady stream of battle-tested conference anecdotage, but they’re not going to move us any closer to building a better world."

Social Justice Bullies

My son and I were discussing a professor at his experimental liberal arts alma mater. She taught a feminist comedy course. She admitted she was open to any humor, but then she denied that rape could ever be funny. For her and her students, she insisted no humor could be found in that action.

Then my son and I joined my wife, and his classmates and me, to watch an Amy Schumer episode that my wife, who'd seen her onstage recently with her female friends, liked. It has gotten a lot of attention for the "last f-able day" actresses (hey, I like that word) commemorate their transition in one skit. But the one preceding it, parodying Friday Night Lights, is funnier: "Football Town Nights."

Even that po-faced and cynically PC-"outrage" clickbait-generating site Salon liked this skit. So that may be progress. The point is, my family and my son's friends from said college, male and female, gathered to watch what their professor judged as the one topic that was forbidden to any comic's repertoire. Not to belabor the point, but Schumer's specialty is the queasy and unspoken, made sexual. She confronts her mostly female audiences with this honesty--and she finds laughs in it.

Aristotolis Orginos the past April 8th at Medium speaks for the generation closer to my sons and their classmates. I am not sure how many of them find laughs in Amy Schumer, but they have been schooled, at least at colleges were Orginos or my sons went, in meticulously parsing any utterance according to strictures which call out any supposed or real, conscious or accidental, "privilege"-claim.

He examines claims of a campus "rape culture," he analyzes the factoid promoted that insists 1:5 women will be sexually assaulted during their university studies, and he reminds us of Orwell's Newspeak as promoted by the media (even if he leaves out Salon). He concludes: "Those who need to hear this message will probably respond that I am 1. too privileged to understand 2. tone-policing the oppressed (and that I shouldn’t tell the oppressed how to treat their oppressors) and 3. really just a closet racist/sexist in a liberal’s clothing." After four years at NYU, he's heard it all before. But, he moves forward to call on his audience to be less timid in speaking up about another type of abuse.

"The version of millennial social justice advocacy that I have spoken about — one that uses Identity Politics to balkanize groups of people, engenders hatred between groups, willingly lies to push agendas, manipulates language to provide immunity from criticism, and that publicly shames anyone who remotely speaks some sort of dissent from the overarching narrative of the orthodoxy — is not admirable." This form of ad hominem attack, Orginos emphasizes, spreads intellectual dishonesty.

He wraps it up by comparing "separate but equal" to the Left's call for "safe spaces." "But the fact of the matter is — anyone unwilling to engage in productive, open, mutually critical conversations with people they disagree with under the moral protection of liberalism and social justice are not liberals, are not social justice advocates, and are not social justice warriors; they are social justice bullies."

Greg Lukianoff on April 16th at the Huffington Post criticizes Garry Trudeau. Doonesbury's creator, speaking of privilege, carries a lot himself. Descended from the Dutch founders of New York, prep-school and Yale '70, he emerged from this background to satirize the conservatives, as not one of them, the voice of the hippies as they moved like him into the Me Decade and beyond. Trudeau's comic always struck me, like much of Jon Stewart's on Comedy Central, or shows like MASH, as smug. (However, to its credit, Inside Amy Schumer is also on that network. Just as Fox Network can be edgy too!) Even if Stewart is but a year younger than me, most who champion this orthodoxy that Orginos challenges seem either quite a bit older--as with Trudeau and his hippies, or as with the millennials, quite a bit younger than me.  I guess Schumer's right in the middle, more than a decade older than my sons, two decades younger than me. Although I'm five weeks separated in birth from Obama, I ally with another voice, closer still. Ricky Gervais and I share the same birth date/year.

Gervais also takes on those who claim to act one way and secretly get away with being another. This two-faced nature enlivens his own characters, but it reminds me too of those in power from my generation, if Obama counts, and those from Trudeau's, such as the Clintons. A frequent dissenter to these political powers (and their court jesters Trudeau once, Stewart now) is the conservative columnist at the New York Times, Ross Douthat. His April 17th column, "Checking Charlie Hebdo's Privilege," cites Trudeau's defense of Islam against those who dared to mock it. For they were “punching downward ... attacking a powerless, disenfranchised minority.” This was both a moral and an aesthetic failing, because “ridiculing the non-privileged is almost never funny — it’s just mean.

Misattributed to Voltaire, "To learn who rules over you, simply find out who you are not allowed to criticize" still seems good advice. (Even if a variant of this as documented there comes from a source that I doubt few who cite this phrase on the Net would, thus informed, and chastened, affirm.) What Christopher Hitchens predicted when the "Danish cartoons" incited violence has come to pass: any one speaking out against Islamism, as Ayaan Hirsi Ali has from first-hand experience, is ostracized.

Demonstrating this reaction, and blaming the victim who blamed others' victimization, six writers declined to attend a recent PEN award for Charlie Hebdo. After quoting various dissenters among the prominent authors, a NYT piece concluded with a particularly credible source. “If PEN as a free speech organization can’t defend and celebrate people who have been murdered for drawing pictures, then frankly the organization is not worth the name,” [Salman] Rushdie said. “What I would say to both Peter [Carey] and Michael [Ondaatje] and the others is, I hope nobody ever comes after them.”

How "powerless" or "disenfranchised" can a significant portion, say 12%? of Muslims, be? That totals hundreds of millions out of 1.2 billion worldwide, plus non-Muslim sympathizers. If they're a "minority," so are Catholics like Douthat, a declining billion out of seven billion, by the way. As no religion worldwide comprises a solid majority in this tallying, what's to claim? Douthat continues: "Trudeau is hardly the first writer to accuse the Hebdo cartoonists of “punching down.” For: "That phrase, and the critique it implies of 'Je Suis Charlie' solidarity, has circulated on the Western left ever since the massacre. And understandably, because it reflects a moral theory popular among our intelligentsia, one that The Atlantic’s David Frum, in a response to Trudeau, distilled as follows: In any given conflict, first 'identify the bearer of privilege,' then 'hold the privilege-bearer responsible.'”

This circles back not only to Origis, but to Schumer. She deflates the force of the rape joke by her parody, as it's repeated in such doggedly stupid terms by such simpletons it loses its hurt. Similar perhaps to how the n-word has deflected racism by those allowed to use it or reclaim it from within their community, or the use of "queer" from within that community (or "Jesuit" for that matter way back!) the subversion and deployment of coded humor by its victims made standard-bearers changes the way the larger community--even if they aren't supposed to be in on the joke or twist--responds.