I'm rereadig this at a book store abt a year after i first read it, when itcame out in english. Bayrd has a new book outin france i have found excerptI'm rereadig this at a book store abt a year after i first read it, when itcame out in english. Bayrd has a new book outin france i have found excerpts from on line--inc. one inenglish--i nwhich he tackles the questions of reviewing, esp of books he puts in a select category which is that which emocpasses the worst books or unifinsed works of great or at least good writers.
In the How to talk book, Bayard is examing some of the implications which the old "Bluffer's Guyides" mapped out as "taekn for granted" social/diplomatic policeis--that is, how to seem s though one has amuch borader filed of specialized kjknwoeldges packed in one's mind and ready at the drop of a aht to be able to propound upon them, though one may have not read a bokk, seeen a film hgeard some muci--nonetheless one hold's one 's own even among the more than usually informed.
(The Bluffer's Guide for Cinema was actully very good-veyr subversive in implications in ways Bayard isnot. After al he is a professor of Literature so can't write about not reading at all!) Bayard's primary insight is that i the ways one speaks about, and hasgathered theinformation used to speak about, books one has not read, or has but forgotten al but the title of, or may have read, feels likeone has butis not really sure--and other such asepcts of "reaading"--in constructing or investi8agintg these, each person i in effect contributing to an evr ongoing wwiurting of these books and of new books of one's own. Thisis in keeping with the law which states that no emergy is lost even when converted to another form-- In this sense, though don't think the author had this in min, one may read the book as a akindof reassurance re the economy of writing in relation to its being tlaked about, as much as more than being read.
The mergy opf writ9ing not coonverted to that of reading there fore is not lost in the non-=readings or forggotten readings, but is recuperated in the talking about the books, evenif they thesmlevs are but close to being as it were empty vessels.
All the unwritten spoken about logomania around writte texts then has a chnace through sheer humbers of granting the prorbality of the regenerstation and gereation outof the non read but written materials in to yet more writings . . . as wel as more readings as more tlaked about versions become evermore talked about and so at some point, again given the laws of proabality, wil engender a few or many new actaul readers of the writing--...more
I wont begin to really start writing on this book as if i did it would become an essay as each time i read it the thoughts whih it provokes are more pI wont begin to really start writing on this book as if i did it would become an essay as each time i read it the thoughts whih it provokes are more profound and also more mysterious, more elusive, as they should be-- Steles is not the dierct translations of inscriptions on stones by roadsies in China--but ones imagined as being found by this french writer living in China--patterning them after Chinese styles which are knwon from--translations, fragments of originals?--are they works "After" not so much one author ("After Lorca") but a great many, anonymous/known both--become fictional yet real--transposed--and is this an investigation into or an example of Orientalism?--a development of a commentary on it--as Segalen had originally gone to the East in the path of Gauguin--arriving just after the painter had died--so now what to do with this legacy of "exoticism" and "Voyage en Orient" (de Nerval)? A very comlex multi leveled layered book which was written during roughly the same era as Pound and Fenollasa were working on The Chinese Written Character as medium for Poetry--a fascinating work--something creating a space for itself, neither nhoa nor homage, but something other--a culture in a sense which exists only in this book?--the voyages of exterior travel, travels through languages and the bridges of translations, and the voayges of the being within the questions posed to oneself as "riddles" found on stele that one has created as coming from another culture-- all these voyages--voyaging among and with each other in this deceptively "simple" book--so beautifully and peacefully written--...more
a love story, rare for conrad, and, not rare--the forces arrayed against it, malignancy of human forces in their decayed forms, implacability of Natura love story, rare for conrad, and, not rare--the forces arrayed against it, malignancy of human forces in their decayed forms, implacability of Nature-- an astonishingly beautiful book and one of the very few love stories written without any of the usual tropes-- very few writers are able to make palpable in the very air one breathes the sense of forces of oppression, constraints, the cruelty imposed in both "rational" and irrational ways on humans by other humans--...more
a great work of harsh lyricism by the great American Indian poet and novelist- i first read it during a heat wave and felt like i was freezing the whola great work of harsh lyricism by the great American Indian poet and novelist- i first read it during a heat wave and felt like i was freezing the whole time i read it-- ...more
reading along with reading/rereading the Collected Books of Jack Spicer-some of it towards an essay-- in the new Otolith i have some pieces for Jack Spreading along with reading/rereading the Collected Books of Jack Spicer-some of it towards an essay-- in the new Otolith i have some pieces for Jack Spicer from a series-- http://the-Otolith.blogspot.com...more
rereading this yet again bob cobbing's the most important (to me anyway) visual/sound/performance poet, publisher, editor of the second half of 20th cerereading this yet again bob cobbing's the most important (to me anyway) visual/sound/performance poet, publisher, editor of the second half of 20th century (kurt schwitters of the first half--) this edition of a classic augmented by further work by cobbing as well as reviews and comments from night of its perfromance, a grand gala celebration for shakespeare in london-- and also commentary by the great canadian visual poet/publisher/editor jw curry bob cobbing pioneered the use of visual texts w/o letters, words as poems for performance, extending this to anything being a score, a notation-- all his books are educations as well as the anthologies he edited by himself and with peter mayer--re histories and various aspects of visual/sound poetries-- we used to perform tree shadows moving on sidewalks and the side walks carcks also as notations-- truly one of the greatest figures of twentieth century arts...more
I've just re-re-read nearly all David Treur's Native American Fiction, in which the author, an Ojibwe of the Leech Lake MN rez who writes novels and teI've just re-re-read nearly all David Treur's Native American Fiction, in which the author, an Ojibwe of the Leech Lake MN rez who writes novels and teaches in Minneapolis, asserts that there is no such thing as "Native American Fiction," that it in itself is a fiction which needs to be read as literature and not as "Native American." Treur's thesis is not a willfully paradoxical one, but based in the Indian's historical dilemna in trying to communicate with non-Indians. That is, the Indian, while "strange" and "silent" is at the same time "already known," via centuries of imagery, fictions, histories, movies, songs, poems and urban legends. The "Indian" becomes a site where others may indulge their fantasies of "indianness," and so expect to find this "Indianness" in the writings of "Native American writers." The result is that much very sophist8cateedly written literature, with antecedents and relatives in Western literature, are read-back-onto via tropes which are "found among" the various tribes of the writers' origins. Thus a device from Flaubert used by Erdrich is almost forcibly treated as a "poly vocality" of "Native oral traditions," rather than as a superb use of textual intercutting. Treuer emphasizes the double binds of Indian writing by discussing in the same terms the imensely popular Education of Little Tree, which was discovered to be the work not of an Indian, but of Asa Carter, former speech writer for Gov George Wallce and a leading memeber of the KK implicated n the catsration of a mentally challenged black man. As long as Little Tree was taken as the real work of a real Indian writer named Forrest Carter, all was well, and the book brought to millions its form of Indian "knoweldge," and thinking, a "Green" philosphy dear to the hearts of Ne Agers and Erat Firsters alike Treuer sets Carter's book side by side with the most outspoken Indian proponent of authenticicty, writer Sherman Alexie. By demonstarting how similar Alexie's Reservation Blues and Education of Little Tree are, Treuer points out that the both the haox and the "real" Indian books are based on an assertion of "authenticity," which, as long as itis believed in, makes them both "real" Indian writing, when in fact, the two books share a relationships as fictions, one of Indians by a non-Indian, the other of Indians by an Indian, and both sharing many elements i terms of plot structure, writing styles, tropes used for "Indianly" moments of "lyricism" and the like. Alexie plays a part in the discovery of an another fake Indian's hoaxed writings--those of Nasjjif, the "Navajoaxer" New Age best selling author of three "memoirs who is in fact a failed Gay writer of porn, born again as a New Age sage, filled with the waftings of burning tourist-stand Sagebrush cuttings. On reading Nasdijjif's work, Alexie said that what cued him to its being "fake" was how "real" it seemed to be, "real" that is in that it so closely embeled his own writings and those of other Indian writers. In other wrods, the fake was "too good to be true" in terms of its "reality." Yet the measure of its "reality" for an Indian writer was in how closely it resemebled his own fictions. It takes a fiction writer to catch a fiction writer to parpahrase the saying about theives. And so the "authentic" fiction writer is able to recognize the non-authentic fiction wrtier via fictions--written by the authentic writer who knows that they are in his case fictions.
For Treuer, if the Indian fictions are only "real Indian fictions" if written by "real Indians," while "real" memoirs of fake Indians are taken to be authentic as long as the "fake" authors are thought to be "real", yet are not even considered "fictions" when the authors are revealed to be "fakes," how is a "Native American fiction" then able to develop as something "real?"
(Fake Indians actually create over a billion dollars in revenue for themselves every year, selling "Indian artefacts," Indian "teachings," Indian "Scared objects," and the like. One of Treuer's points is that even the most praised and best selling works of "real Indians" are still treated far more as "artefacts" rather than "art.")
Of course, if "fake" Indians can so easily be taken as "real"--this is another way in which the "Vanishing American Indian" is indeed , as ever, vanishing--being vanished, from an America which has hardly ever bothered to understand "real Indians" in the first place.
Issues which at one level seem to be paradoxes of literary creation at another level are part of a very real historical situation of "matters of life and death."
This underlying centuries old problem for Indians vanishing before both the genocidal and faked "real" and fictional White created Indians creates the dilemnas which face Indian writers in Treur's book. Treuer argues, however, that facing these dilemnas will lead to a new way--a real Indian writing--not culled from fictions and left over remnants of destroyed cultures doled out of their captivities by others.
Rereading the book I found a lot more in it that i had previously, in part as since reading it two years ago many of the themes and questions which Treuer asks are ones I have asked increasingly myself. (being of a mized Ojibewe-Quebecois heritgae, of course there is an interst also in that Treuer is an Ijibwe. Ojibwe is the name given by other tribes to the Insihnabe, and means "people who write." Inishnabe means means First People, becuase they came from the East, created by the six luminous beings who emerged from the oceans.)...more