Helen DeWitt's Blog, page 56

RB

Or take a sentence like this one, from Barthes's first book. He is not talking about a writer or a text or a style or an image or a story, but about … a tense. This is the preterite, the past historic, which in French exists only in written texts. It is, Barthes says,

the ideal instrument for every construction of a world; it is the unreal tense of cosmogonies, myths, history and novels. It presupposes a world which is constructed, elaborated, self-sufficient, reduced to significant lines...

1989

I firmly believe that a person such as myself who can't make music (aside from drumming, tuneless singing, etc.) can't understand it in the way that a practitioner can. In general, I think it's hard to understand a system that you can't perturb.

Andrew Gelman, in a comment on a comment on a post on Joshua Clover's 1989.

Legolanguage

"Can you see any clippy bits?" my son asked his friend. The friend was flummoxed. "Do you mean handy bits?" he asked, pointing.

"Yes," replied my boy. "Clippy bits."

Of course! This language of Lego isn't just something our family has invented; every Lego-building family must have its own vocabulary. And the words they use (mostly invented by the children, not the adults) are likely to be different every time. But how different? And what sort of words?


Languagebuilding in Legoland, Giles Turnbul...

Manituana

Gordon Darroch interviews Wu Ming 1 in the Herald Scotland:

GD: So are you using historic warfare to raise a point about modern warfare and the way it's been sanitised and turned into an export industry? Is that why the description of the violence is so explicit? I found some of the battle scenes had an epic, Virgillian quality in the way they described every slash and thrust.

WM1: Thank you for calling our writing "Virgilian", I'm a big fan of the Aeneid. The difference with the ancient classi...

1989

Owen Hatherley reviews Joshua Clover's 1989: Bob Dylan Didn't Have This to Sing About in the New Statesman.

6 cents a word

For example, here's one fun fact: The engine of Fitzgerald's income (at least until he went to Hollywood) was not his novels but his short stories. He considered them his "day job," a thing to be endured because writing them would allow him the financial wherewithal to write the novels he preferred to do. And how much did he make for these short stories? Well, in 1920, he sold eleven of them to various magazines for $3,975. This averages to about $360 per story, and (assuming an average...

secret centre

This Space on The Turn of the Screw and Blanchot.

under the net

In the belly of the beast. C'est à dire, striving for a semblance of professionalism within a profession where a culture of secrecy trumps a mere way with words. Hence, naturally, catching up on Dinosaur Comics. As one does.

lrb 30th

The London Review of Books is celebrating its 30th anniversary by making the entire issue available online. John Sutherland has a piece in the FT on the history of the paper; like the NYRB, it was founded when a printers' strike left the public clamouring for book reviews.

Sutherland says that, just as the NYRB is not much read in the UK, the LRB is not much read in the US. Does this mean you, Paperpools majority? Sitemeter tells me that 51% of you are in the US; 57% of you are Mac users; 53...

the red and the green

Behind that ugly outward face lay van Gogh's resolute schedule of artistic self-education – he would reason out each procedure in a letter as he executed it, giving 19th-century art theory a test report. But behind that, the correspondence pivoted on a deeper contradiction. Artists – pre-eminently Millet, the great programmatic painter of 19th-century peasantry, the compassionate visionary who 'reopened our thoughts to see the inhabitant of nature' – were founts of self-will, imbued with geni...