Looking for TRP

Something had gone all mushy and rotten in the heart of America. Life had lost image, and we had lost belief. No one was guilty, no one responsible. So we moved, intangible as the world around us, from event to event, from the theater to the discotheque and back again, stopping off for a quick peek at the galleries to see who was desperately painting what, a television sort of life: fast, acrid, without substance. Mushy and rotten.

Life became a rather medicated extravaganza, a pharmaceutical parody of monasticism and self-containment. All around, people were leaping to est, or to ever more complicated forms of charging high-priced articles, or to cocaine habits or to homosexuality. Men confused me with their fine clothes and careful, Victorian mustaches, and somehow it was a leap, like most others, that required more faith than I could find. So I lived like most everybody, torn between two possibilities that are equally unreal; the everything and the nothing that surround us at every moment.

from Robert Goolrick “Pieces of Pynchon”

Oceania

O Afryce mówi się, że to kontynent zapomniany. Oceania jest kontynentem niewidzialnym. Niewidzialnym, gdyż podróżnicy, którzy po raz pierwszy przybyli w tamte strony, nie dostrzegli go. A i dzisiaj jest jedynie miejscem tranzytu, bez znaczenia na arenie międzynardowej, poniekąd nie istnieje.

“Przygoda” to słowo, które trzeba ocalić. To słowo, któremu zabrano sens. Dziś jest okaleczone, gdyż zaczęło oznaczać wszystko, sposób na odegranie się, upust nieudolności. Trzeba obnażyć jego właściwe znaczenie: zerwać fałszywą powłokę jak kostium, w który ubrali się złowieszczy apostołowie podboju i twardzi eksploratorzy egzotyki.

Nowoczesne państwa próbowały zamknąć ludzi morza, podobnie jak nomadów z pustyni, w sitace granic. A jednak dzięki zamiłowaniu do przygody, dzięki poczuciu względności wszystkiego ludy te nie przestają się z niej wymykać.

J. M. G. Le Clezio’s Raga. Approche du continent invisible / Raga. Ujrzałem niewidzialny kontynent.

Fever Ray “Keep the Streets Empty for Me”

Memory comes when memory’s old
I am never the first to know
Following the stream up North
Where do people like us float

There is room in my lap
For bruises, asses, handclaps
I will never disappear
For forever, I’ll be here

Whispering
Morning, keep the streets empty for me

I’m laying down eating snow
My fur is hot, my tongue is cold
On a bed of spider web
I think of how to change myself

A lot of hope in a one man tent
There’s no room for innocence
Take me home before the storm
Velvet moths will keep us warm

Whispering
Morning, keep the streets empty for me

Uncover our heads and reveal our souls
We were hungry before we were born

Chaosmos.pl

CHAOSMOS.PL - Polska sztuka ezoteryczna XXI wieku

40

Not having enough as a kid and thankful for it … meeting Mkka in summer of 1990 … realizing what it is that Oedipa really found … 10am to 2am shifts in a theatre in Edinburgh … listening to “Ugra Karma” for the first time … H3O … Hakim Bey … Pullman and Wazzu … unholy musicks … “The sky above the port was the color of television tuned to a dead channel” in a book with the cover I didn’t really like … the first view of the Pacific … Edward Alexander and his path … Smashing Pumpkins’ “Disarm” in a cab between parties in San Francisco on the New Year’s Eve … Winterson’s The Passion … more London than I care to remember … House of Leaves … Jackson Pollock in MOMA … the saddest man in the world and his words … empty roads west of the Mississippi … COIL … a small hand always holding mine in the street … Steve Erickson … a chemically-assisted July night in Borrego watching the Milky Way … Takeshi Kovacs … finding out that forgiveness is the ultimate sign of caring … 45 minutes in a hotel lounge after a wedding in Buffalo with snow falling outside before a cab came … starting to half-heartedly watch Southland Tales and dazedly asking myself at 3:20am whether I’ll be able to like any other movie after that … the desert … the Louvre at 10pm on a cold December night … always my students … Oceania … feeling at home in the world …

So many memories that will always be only mine.

It’s been a good ride so far. Thank you.

2005 Cornell Commencement Address

May 29, 2005
Commencement Address
Cornell University
President Jeffrey S. Lehman
May 29, 2005

Members of the Class of 2005, candidates for advanced degrees, families and friends of the graduates, Chairman Meinig and other members of the Board of Trustees, honored guests.

On behalf of my colleagues on the faculty, it is my privilege to welcome you to Schoellkopf Field for this morning’s celebration of those students who are completing their degree requirements here at
Cornell University. Twenty-eight years ago, I was sitting where today’s graduates are seated for my own Commencement ceremony. You cannot imagine how thrilling it is for me to be here today, as
Cornell’s President, addressing today’s graduating students.

At the outset, I think it is important for us all to recognize that none of these graduates made it to this day alone. Others provided the emotional, intellectual, and financial support that was necessary to make their education possible. So let us take a moment to ask those who are not wearing caps and gowns - the parents, grandparents, spouses, partners, siblings, sponsors and friends, all of whom have sustained these graduates - to stand now so that we may acknowledge you and your contribution to their success.

Graduating students, I want you to appreciate just how carefully your beloved Cornell has prepared you to enjoy this moment. It is the moment of your commencement. And we have placed you on Schoellkopf Field, facing west.

West. The direction of the sun as it traverses the sky. By day it is the destination of the celestial body that energizes our planet. By night it is the destination of the other stars that illuminate our sky.

When we look out towards the western horizon, it is natural to ponder our own destinies as well. For the horizon marks the limit of our capacity to see, the boundary between what we know with confidence and what we can only imagine.

Your time at Cornell was always oriented towards the horizon of this graduation day. Today marks the boundary that separates your student life, a life which - at least by your final year - you more or less
understood, from life after graduation, a life which lives in the domain of imagination, of aspiration, of hopes, and of dreams.

When we, your teachers, contemplate the boundary that you are now crossing, we know some important things. We know that during your time here at Cornell you have learned much. You have developed expertise in at least one field of study and gained comfortable familiarity with others. You have proven your ability to swim - at least a little. And you have nurtured qualities of mind and heart that transcend any particular body of knowledge or academic discipline. Members of the Class of 2005, the Force is strong with you.

It is clear that “special powers you have.” You have the power to do good in the world. You have the power to create the magic that will make our lives better, to make constructive contributions to all
humanity. We celebrate you and all that you can accomplish.

But we also know that at this moment you might also be feeling a wee bit anxious. You might be wondering, “What if I fail? What if I don’t live up to the expectations that others have for me, or that I hold for myself?”

Think of the Star Wars movies. We know that, just as the Force is strong with you, it was also strong with Anakin Skywalker.

He too had special powers. But he ended up as Darth Vader. How could that have happened?

So let me begin by reassuring you. None of you will become Darth Vader. Really.

But perhaps your anxiety might present itself in a slightly milder form: how can you be sure that you do not go over to the Dark Side?

And here I think that I can be of some service to you. This morning I will take a little bit of poetic license and extend the metaphor of the Dark Side to explore some of life’s moral complexities - the
traps, if you will - that await you on the other side of graduation. These traps might not be so serious as to put you on the road to becoming Sith Lords, but they might nonetheless make it harder for you to realize your full potential.

Let me begin by discussing what I mean, and what I do not mean, by “the Dark Side.”

First, when I speak of the Dark Side I am not talking about anything like “unwavering devotion to the cause of evil.” That narrow a view doesn’t work even in the world of George Lucas. Lucas takes great care to indicate that, as Anakin Skywalker turns into Darth Vader, he does not believe that he is embracing evil. He believes that the Jedi are the ones who have been corrupted; he is committed only to knowing the truth and to saving the life of someone he loves.

Nor can we say that the difference between the Sith and the Jedi is that one pursues its ends through intolerable means and the other restricts itself to benign means. Each side is equally willing to be violent to promote its cause.

The Dark Side I am interested in is more subtle. Think of it not as evil, but as good people run amok. Yielding to a certain kind of wholly understandable temptation, in a way that ends up being counterproductive for the individual or damaging to the larger community.

In your lives after graduation, what forms might that Dark Side take? How might they tempt you? How can you successfully resist them, so that your lives are maximally successful, fulfilling, and beneficial?

Rather than approaching those questions head-on, I would like to examine them indirectly, as they are refracted through the lens of fiction. To do so, I will make use of two different works by one of
the great writers of our time, Thomas Pynchon.

Pynchon came to Cornell to study engineering physics in 1953. He was a talented science student, but he was also good in other subjects, and in his sophomore year he decided to major in English.

Pynchon had some wonderful teachers in the English department - people like M.H. Abrams, Baxter Hathaway, James McConkey, Arthur Mizener, and Walter Slatoff. They recognized his prodigious talent early on. One of them saw the potential in a paper that Pynchon wrote for class, entitled, “Mortality and Mercy in Vienna.” The literary journal Epoch was edited by Baxter Hathaway at the time, and he decided to publish “Mortality and Mercy in Vienna” in the Spring 1959 issue, just before
Pynchon graduated. According to a letter from Pynchon 25 years later, having that story published in Epoch was a major factor in his decision to try to make a living as a writer.

The story concerns a man named Cleanth Siegel who attends a party in Washington, D.C. Siegel finds himself cornered, one at a time, by two different members of an extended, interdependent social group, both of whom regale him with details of their lives, from the petty to the bizarre. As they drone on and on, Siegel feels himself getting fed up with them, and with the entire lot of partygoers. He comes to see himself as a kind of father-confessor to this self-styled “Group.” And then, oddly, he comes to see himself as their savior.

Late in the story, Siegel meets one of the newer, more marginal entrants into the Group, a man named Irving Loon. And Siegel develops a hunch that Loon suffers from a mental illness called Windigo
psychosis. A person suffering from Windigo psychosis has a deep identification with the Windigo, a mythical Canadian ice monster that craves human flesh. This identification can often lead the psychotic to become homicidal as well. Pynchon writes, “[I]f this hunch were true, Siegel had the power to work for these parishioners a kind of miracle, to bring them a very tangible salvation.”

Now the salvation that Siegel has in mind for them is horrifying. He goes up to Loon and says the word “Windigo,” hoping that it might trigger a psychotic break and prompt him to violence. And it works. Loon flips out. While Siegel watches, Loon takes a Browning Automatic Rifle down from the wall, and loads it with ammunition. Siegel casually leaves the party and walks downstairs, whistling as he goes. He hears screams. He shrugs. And as the story ends he hears the first burst of gunfire.

All of us would say that Cleanth Siegel went over to the Dark Side. He would presumably argue that the damage he caused was in some sense necessary to promote a larger good, the overall good of his flock. But this is nothing more than the familiar claim of a fanatic.

Unfortunately, the daily news reminds us that fanatics remain all too present in our world today. In pursuit of what they consider a greater good, they do horrible things. Even murder feels warranted to them, they are so obsessed with achieving their objective.

But in speaking of what I will call the Windigo Dark Side I do not want to limit our attention to this kind of fanaticism. That feels too remote, too distant from our lives. I want to make the challenge more relevant, more difficult, by having the Windigo Dark Side also encompass fanaticism’s much milder cousin: tunnel vision.

People afflicted with moral tunnel vision recognize a good, something that carries a positive benefit for the world. They see a path to that good. And they become so committed to pursuing that path that they lose sight of the costs to other values that might be associated with going down that path. These are the kinds of blind spots that can undermine communal life and collective progress.

The temptations of moral tunnel vision are everywhere we look. Think, for example, of the soldiers who, in their efforts to defeat a dangerous enemy, are tempted to slip into torture. Think of the
campaign workers who want to help their candidate, and are tempted to caricature the opponent unfairly. Think of the advocates for a cause who are tempted to use tactics that are disproportionate to the goal they champion. Think of the business leaders who are tempted to be stingy about workplace safety in order to improve their price position in a competitive marketplace. Think of the university leaders who are tempted to deform their institutions in hopes of rising in the magazine rankings.

In the world of action you will find that it is surprisingly easy to become convinced of the paramount importance of your cause. It is a short step to see those who oppose you as evil or immoral, or maybe
just stupid or naive. And another short step to tell yourself that the harm you inflict on them is necessary to promote a greater good, or might even be, in some way, for their own good.

When you leave Cornell, I know that you will use your Jedi powers to promote noble ends. And I know that most of the time, you will not find it difficult to remain clear-eyed about the relationship between
the goals you are pursuing and the means that are appropriate to them. But you should also be prepared to face the temptations of the Windigo Dark Side.

The second Pynchon work that I would like to discuss is his second novel, The Crying of Lot 49, published in 1965. It tells the story of Oedipa Maas and her struggle to make sense of a world in which nothing can be known with certainty.

The book begins when Maas receives a letter informing her that she has been named co-executor of the estate of her ex-boyfriend, Pierce Inverarity. Her efforts to sort out the estate lead her to meet a
series of alienated young people, one of whom directs her to attend a play entitled, The Courier’s Tragedy. The play feels like a bad imitation of Shakespeare, a senseless mixture of sex, betrayal,
torture, and killing. In Pynchon’s words, it is “like a Road Runner cartoon in blank verse.” Late in the performance, Maas is struck by an obscure reference to “Trystero.”

Maas sets off to understand this reference. She traces the evolution of the play’s text through different publications, finding many changes associated with the Trystero line, but none that offer any
realistic account of why the changes were made. Her odyssey leads her into an increasingly bizarre world. To take just one example, she encounters a man who claims to have built a machine incorporating Maxwell’s Demon. Those of you who, like Pynchon, studied physics, know that Maxwell’s Demon is an imaginary creature who was invented to get around the second law of thermodynamics. And part of Maas’s growing frustration in The Crying of Lot 49 derives from her inability to get the machine to work.

She comes to believe that a conspiracy has created an underground postal system in California, going by the acronym W.A.S.T.E., “We Await Silent Tristero’s Empire.” As her obsession with the putative
conspiracy deepens, Maas finds herself more and more isolated, cut off from her husband, from her psychiatrist, and even from the lawyer she thought was helping her.

Towards the end of the book, Maas is led to an obscure historical source which suggests that Tristero [sic] really existed - as a man who, in 1577, set up an underground postal system to challenge the existing postal monopoly in sixteenth century Europe.

And then, just when the reader is tempted to believe that the puzzle has been neatly sorted out, Pynchon shows how W.A.S.T.E. and the entire Tristero postal conspiracy might have been an elaborate hoax, constructed by Inverarity himself in order to torment his ex-girlfriend. But we really cannot be sure. Because this is, after all, a world in which nothing can be known with certainty.

In The Crying of Lot 49, Pynchon has again given us characters who do not feel quite like us. Cleanth Siegel was a fanatic. And Oedipa Maas seems to be a bit too easily drawn into the world of conspiracies.

But in speaking now of what I will call the Tristero Dark Side I again want to broaden our view. Rather than restricting our focus to conspiracy theorists, I would like to define the Tristero Dark Side by
reference to a related but more familiar idea, the rush to judgment. This is the temptation to see too quickly a pattern emerging, to infer too soon an organizing principle, and then to become unable to
assimilate contrary evidence into your worldview.

After you leave Cornell, you will have the opportunity to take positions of authority and responsibility. In those roles you will be required to act under conditions of uncertainty, to use your best judgment about what is going on when you have little information. These will be wonderful opportunities for you to do good in the world. They will invite you to draw on your very best qualities - your compassion, your intelligence, your intuition.

And at these moments you will also have the opportunity to negotiate the temptations of the Tristero Dark Side. It will be surprisingly easy to believe that you know more than you do, to see more order in
the universe than is really there, to see less entropy, to see conspiracies where there is only coincidence. It will take hard work to remind yourself of the limits of your own knowledge, to stay
receptive to new evidence, to keep an open mind, especially when you feel very real time pressures weighing on your decision.

Think, for example, of the national leaders who must assess the danger posed by other countries. The journalists who must decide how much credence to give an anonymous tip. The labor negotiators who must decide whether to trust the latest representations that management has made to them. In these contexts, people are naturally tempted to connect the dots. It is more satisfying to know the answer than to live with ambiguity. And often it is easiest to have that answer take the form of malevolence, or conspiracy. It is so tempting to rush to judgment.

And yet, you can defeat the temptations of the Windigo Dark Side and the Tristero Dark Side. You do not have to develop moral tunnel vision. You do not have to rush to judgment. I am happy to provide you with five strategies for staying true to your best selves. Think of them, if you will, as the five virtues of a Jedi Master: a love for complexity, a patient spirit, a will to communicate, a sense of humor, and an optimistic heart.

First, a love for complexity. Fanaticism is anchored in the belief that one has discovered The Truth, a master key that explains the world. That same kind of belief can generate both tunnel vision and a
rush to judgment.

When you feel yourself developing that kind of certainty that you have access to a master key, push back. Use all of your intellectual and sympathetic powers to seek out multiple perspectives. See the world through your critics’ eyes. Feel your adversaries’ pain. When it seems as though you’ve got it all figured out, ask yourself whether Pierce Inverarity might have led you astray, and whether you might be missing something important.

Second, a patient spirit. When the stakes seem highest, it is natural to believe that only swift and decisive action will do. When you feel that impulse, wait. Take a walk around the block. Review in your mind the foreseeable consequences of your decision - the outcome you hope for and the collateral damage that might be avoidable. Remember how much you do not know. Then you will be able to act, and to do so in ways that enable you to keep on learning.

Third, a will to communicate. Pynchon’s writings are filled with the communicative failures of his protagonists. Characters have insights, but they fail to share them with others in a way that is intelligible, in a way that can be helpful. And those failures make it easy for the Dark Side to move in. In these circumstances your rule of thumb should be that responsibility lies with the speaker. It is up to the person with the insight to find a way to convey it so that the audience understands.

As you assume greater leadership roles, having acquired special learning, knowledge, or expertise, that rule of thumb will become more and more important. It is not enough to have such learning. And it is not enough to bombard your listeners with data. You must come to understand what the linguist George Lakoff has called “frames” - the ways in which your listeners structure their perceptions of the world. And you must help them to develop frames that will allow them to appreciate the importance of the learning you have to share.

Fourth, a sense of humor. Humor is the great enemy of the Dark Side, and the most powerful form of humor is self-deprecation. And here Thomas Pynchon has offered us a priceless example.

After graduating from Cornell, Pynchon emerged as one of the great writers of the twentieth century. His five novels have each won wide acclaim. But he decided early on that he would not accept the
celebrity that success can bring. He chose instead to do what he could to preserve normalcy in his life by preserving his privacy. In particular, he avoided cameras. He would not allow his photo to be
taken. He declined to give interviews.

But then, to the shock and amusement of a literary world that had become somewhat obsessed with finding Thomas Pynchon, along came the January 25, 2004, episode of the television show, The Simpsons.

In that show, Marge Simpson writes her first novel, The Harpooned Heart. Eager to promote sales of the book, the publisher seeks blurbs from Thomas Pynchon and Tom Clancy.

So picture, in your mind, the following scene. Imagine a Simpsons character. A man wearing a paper bag over his head, with a question mark painted on the bag, above the eyes. He’s standing in front of a house, near a big neon sign that reads, “Thomas Pynchon’s House. Come On In.” The Pynchon character makes a call on his cell phone to Marge’s publisher.

And here is what the Pynchon character says. (By the way, this really is the voice of Thomas Pynchon):

["Here's your quote. Thomas Pynchon loved this book. Almost as much as he loves cameras." ]

The Pynchon character ends the call and hangs a big sign around his neck that says “Thomas Pynchon,” with an arrow pointing at his head, still covered by a paper bag. He starts shouting at passing cars:

["Hey, over here. Have your picture taken with a reclusive author. Today only, we'll throw in a free autograph. But wait! There's more!"]

A self-deprecating sense of humor will take you far indeed, perhaps all the way to the Simpsons.

And finally, an optimistic heart. When we reflect on Anakin’s fall, we recognize that the Dark Side’s greatest allies are fear and despair. Those are the emotions that fuel tunnel vision and a rush to judgment. To fight them you must arm yourself with realistic optimism. Not Panglossian denial of the problems in our world. But a kind of working faith that, on balance, over the long haul, things will work out, justice will be served, progress will occur, success will be achieved. That kind of attitude seems to be a predicate for most forms of collective achievement. Think of it, if you will, as the spirit that
underlies Episode IV: A New Hope.

* * *

New graduates of Cornell University, as you face the western horizon of your lives, I ask you to think about this moment in the way that Pynchon had Oedipa Maas think of a critical moment in her own life. “She thought … of a sunrise over the library slope at Cornell University that nobody out on it had seen because the slope faces west.”

This is your sunrise. You are about to embark on lives of service to a society that desperately needs you. And as you go, let me conclude by sharing a few hopes that we, your teachers, hold for you:

May you enjoy the special pleasures of craft - the private satisfaction of doing a task as well as it can be done.

May you enjoy the special pleasures of profession - the added satisfaction of knowing that your efforts promote a larger public good.

May you be blessed with good luck, and also with the wisdom to appreciate when you have been lucky rather than skillful.

May you find ways to help others under circumstances where they cannot possibly know that you have done so.

May you be patient, and gentle, and tolerant, without becoming smug, self-satisfied, and arrogant.

May you know enough bad weather that you never take today’s sunshine for granted, and enough good weather that your faith in the coming of spring is never shaken.

May you always be able to confess ignorance, doubt, vulnerability, and uncertainty.

May the Force be with you.

May you frequently travel beyond the places that are comfortable and familiar, the better to appreciate the miraculous diversity of life.

And may your steps lead you often back to Ithaca. Back to East Hill. For you will always be Cornellians. And we will always be happy to welcome you home.

Congratulations, one and all.

William Burroughs - Western Lands

I want to reach the Western Lands - right in front of you, across the bubbling brook. It’s a frozen sewer. It’s known as the Duad, remember? All the filth and horror, fear, hate, disease and death of human history flows between you and Western Lands. Let it flow! My cat Fletch stretches behind me on the bed. A tree like black lace against a gray sky. A flash of joy.

How long does it take a man to learn that he does not, cannot want what he “wants”?

You have to be in Hell to see Heaven. Glimpses from the Land of the Dead, flashes of serene timeless joy, a joy as old as suffering and despair.

Andrzej Urbanowicz, z “Sztuka jako narzędzie rewolucji wewnętrznej”

„Teraz, jak zawsze, czas biegnie tak szybko, że nie pora na ewolucje. Musimy dokonywać nieustannej wewnętrznej rewolucji, nieustannej kontestacji w sobie samych, w buncie przeciw swemu zaskorupieniu, w niezgodzie wobec zeskorupiałego świata. Nie pałacowe czy krwawe rewolucje mają być naszym dziełem, lecz totalna i nieprzerwana rewolucja w nas samych. Musimy prowadzić nieustanną guerillę z naszą indolencją i naszą skłonnością do najbardziej stereotypowych rozwiązań”.

Pynchon vs Gibson

She looked down a slope [. . .] onto a vast sprawl of houses which had grown up all together, like a well tended crop, from the dull brown earth; and she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit board had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate(Thomas Pynchon, The Crying of Lot 49 13)

[S]he’d watched the maker craft and braise a hilt of brass, rivet slabs of laminated circuit board and shape them on a belt grinder. The rigid, brittle-looking board, layers of fabric trapped in green phenolic resin, was everywhere on the bridge, a common currency of landfills. Each sheet mapped with dull metallic patterns suggesting cities, streets. When they came from the scavengers they were studded with components, easily stripped with a torch, melting the gray solder. The components fell away, leaving the singed green boards with their inlaid foil maps of imaginary cities, residue of the second age of electronics. (Gibson, All Tomorrow’s Parties 79)

Steve Tomasula - TOC

I’ve been a fan of electronic writing (whatever that term means these days) for a long time, but one problem which I’ve had with the prominent majority of e-works is that they failed in one of the two principal domains of their electronic-ness. Those which look great and utilize all kinds of new technologies (Flash, Java, etc) as stories are fairly mediocre at best and usually tedious and boring - “From Lexia to Perplexia” is as theory-friendly as it is unreadable for anyone with even most liberal interest in story-telling. On the other hand, those which hold attention as narratives are usually rather austere in their form. So it’s been either-or most of the time.

Steve Tomasula’s latest work titled TOC is a rare species of the electronic text which both tells a captivating story and looks great. Actually, it looks mind-blowing with its decidedly steampunk-ish and elegantly tasteful decor. If his earlier Vas was about post-biology and The Book of Portraiture about imaging, this one’s focus is time and its passage. As it plays out on the screen, the degree of readerly/watcherly intervention is fairly limited, which takes care of the perennial problem of uncertainty that many readers of electronic fictions (especially multi-forked hypertexts) have so often experienced. Narrated by several, most prominently female, voices, TOC is spell-binding in its combination of (audio)text and stunning graphics (again designed by Stepehn Farrell of Vas fame).

If there is one piece of new literature you’re going to have - this is it. Go get it.

J. G. Ballard again

One of his best - if not off-center - obituaries produced after his death.

Abel Ferrara’s Mary (2005)

Some say every blockbuster movie has its independent or ambitious equivalent. If it is indeed true, Ferrara’s Mary could be such equivalent for The Da Vinci Code. At least sort of. Needless to say, it dispenses with the search and pursue scenario of the latter and instead concentrates on the search for spirituality, or more precisely, for the meaning of the story of Christ, in contemporary world. The three central stories of Ted Younger, a NYC TV show host, the iconoclastic and self-centered director Tony Childress, who makes a movie about the life of Christ and Maria Magdalene, and the actress Marie Palesi, who, having starred in Childress’ movie, decides to seek enlightenment and departs for Jerusalem are beautifully and intricately interwoven. If this even starts to sound didactic, remember this is Ferrara so no degree of preaching is to be found here. Instead, in the mere 85 minutes of the movie the director opens up so many pathways for reflection that it seems almost impossible to start follow all of them after one viewing. Messy relationships, religious intolerance, the conflict in Israel, Hollywood’s take(s) on the myth of Jesus - these are only a few lines worth pursuing here.

What I find really wonderful in this strangely slow-paced although intense movie is its refusal to come to easy conclusions and glib summaries - the conclusion leaves most of the narrative strands up in the air. Regardless of the fact that Mary has a clearly structured narrative, it also has a special collage-like, impressionistic character which invests it with the slowness (in a positive sense). Very recommendable.

Nomad

The American is a nomad. A bastard son. A criminal wherever he goes. Cut loose in his own country to wander and wage battle. The parents are merely stand ins and those who raise the child for its life of brutality along the highways and streets of the city where it scrapes along, in search of home. The American, always lost, always homeless. Momentary relief when living abroad. Away from the cold mother America who does not embrace or welcome its own when they come back, never waves goodbye when they leave. Come, go, America never notices. Business class, body bag, it doesn’t matter. The American travels the world looking for home in other countries. Always alone, always American, hell never get it off of him no matter what distance he puts between himself and his crime of birth. The stain can never be removed. The blood never cleansed.

America will always kill its own for better ratings.

— Henry Rollins, Smile, You’re Traveling

Found thanks to redking

The Center of the World (2001)

Can a movie about a sex weekend in Vegas be good without sex? Yes. Co-written, among others, by Paul Auster and Siri Hustvedt, this independent movie traces a couple who spend three days in LV following the financial arrangement of “no kissing, no penetration, 10pm to 2am only.” While there is - inevitably - some erotic action here, the movie could easily do without it - its main focus is on Florence’s attempts not to fall in love with Richard, an ultimately sweet guy who made a bank on a dotcom IPO. Ironically, her main defense is her own body and eroticism as if the growing intimacy between the two led away from it, or at least away from the vaguely kinky lap dances which Florence performs in a clubs to support her budding career as a rock band drummer.

Ultimately, however, it is not the story itself - fairly simple and, at least to my mind, bearing indelible traces of Auster’s vague existential angst - but the filming which makes The Center of the World (the title that immediately reminded me of House of Leaves‘ character of Thumper and her tattoo “Happiest Place on Earth”) so appealing, so sensual and casually slow but irresistible as it unrolls the story. Long, slow shots, interestingly (although not very original in themselves) presented retrospections, and well-matched soundtrack all come together to create this little gem. Highly recommendable.

Dave Szulborski

Dave Szulborski, the author of the fascinating This Is Not A Game, has passed away. More details here.

Suspect Zero (2004)

A brilliant brilliant movie. The script may not be very original but it still manages to sustain tension. It is, however, the cinematography that astounds. Mixing slick, atmospheric scenes a la Lynch circa Wild at Heart and grainy shots known from his early work, Merhige managed to make a movie which is pure visual pleasure. The cast of known faces (Eckhart, Kingsley, Moss) do a great job (especially Kingsley and Eckhart) and the Southwest appears in all its glory of open spaces and small towns, but what to my mind is even better is the sense of dread and threat that never leaves the plot. All the obligatory false clues for the viewers are here so the general conclusion does not coalesce to early (probably half to 2/3 of the way through the movie). This may not be too good but then again Suspect Zero is not really a detective procedural. Instead, it seems to be in the same vein as Salton Sea or Blind Horizon, in which the desolation of the setting equals the desolation of the soul.

Movie Review Query Engine - here.
Amazon - here.
Merlin (for Polish viewers) - here.

Tom Clancy’s End War

Recenzja w Technopolis/Polityce.

J. G. Ballard died

from The Atrocity Exhibition

CHAPTER THIRTEEN
THE GENERATIONS OF AMERICA

These are the generations of America.
Sirhan Sirhan shot Robert F. Kennedy. And Ethel M. Kennedy shot Judith Birnbaum. And Judith Birnbaum shot Elizabeth Bochnak. And Elizabeth Bochnak shot Andrew Witwer. And Andrew Witwer shot John Burlingham. And John Burlingham shot Edward R. Darlington. And Edward R. Darlington shot Valerie Gerry. And Valerie Gerry shot Olga Giddy. And Olga Giddy shot Rita Goldstein. And Rita Goldstein shot Bob Monterola. And Bob Monterola shot Barbara H. Nicolosi. And Barbara H. Nicolosi shot Geraldine Carro. And Geraldine Carro shot Jeanne Voltz. And Jeanne Voltz shot Joseph P. Steiner. And Joseph P. Steiner shot Donald Van Dyke. And Donald Van Dyke shot Anne M. Schumacher. And Anne M. Schumacher shot Ralph K. Smith. And Ralph K. Smith shot Laurence J. Whitmore. And Laurence J. Whitmore shot Virginia B. Adams. And Virginia B. Adams shot Lynn Young. And Lynn Young shot Lucille Beachy. And Lucille Beachy shot John J. Concannon. And John J. Concannon shot Ainslie Dinwiddie. And Ainslie Dinwiddie shot Dianne Zimmerman. And Dianne Zimmerman shot Gerson Zelman. And Gerson Zelman shot Paula C. Dubroff. And Paula C. Dubroff shot Ebbe Ebbeson. And Ebbe Ebbeson shot Constance Wiley. And Constance Wiley shot Milton Unger. And Milton Unger shot Kenneth Sarvis. And Kenneth Sarvis shot Ruth Ross. And Ruth Ross shot August Muggenthaler. And August Muggenthaler shot Phyllis Malamud. And Phyllis Malamud shot Josh Eppinger III. And Josh Eppinger III shot Kermit Lanser. And Kermit Lanser shot Lester Bernstein. And Lester Bernstein shot Frank Trippett. And Frank Trippett shot Wade Greene. And Wade Greene shot Kenneth Auchincloss. And Kenneth Auchincloss shot Bruce Porter. And Bruce Porter shot John Lake. And John Lake shot John Mitchell. And John Mitchell shot Kenneth L. Woodward. And Kenneth L. Woodward shot Lee Smith. And Lee Smith shot Arthur Cooper. And Arthur Cooper shot Arthur Higbee. And Arthur Higbee shot Anne M. Schlesinger. And Anne M. Schlesinger shot Jonathan B. Peel. And Jonathan B. Peel shot Ruth Wertham. And Ruth Wertham shot David L. Shirey. And David L. Shirey shot Saul Melvin. And Saul Melvin shot Penelope Eakins. And Penelope Eakins shot Mary K. Doris. And Mary K. Doris shot Melvyn Gussow. And Melvyn Gussow shot Roger De Borger. And Roger De Borger shot Edward Cumberbatch. And Edward Cumberbatch shot Shirlee Hoffman. And Shirlee Hoffman shot Jayne Brumley. And Jayne Brumley shot Joel Blocker. And Joel Blocker shot George Gaal. And George Gaal shot Ted Slate. And Ted Slate shot Mary B. Hood. And Mary B. Hood shot Laurence S. Martz. And Laurence S. Martz shot Harry F. Waters. And Harry F. Waters shot Archer Speers. And Archer Speers shot Kelvin P. Buckley. And Kelvin P. Buckley shot George Fitzgerald. And George Fitzgerald shot Lew L. Callaway. And Lew L. Callaway shot Gibson McCabe. And Gibson McCabe shot Americo Calvo. And Americo Calvo shot Francois Sully. And Francois Sully shot Edward Klein. And Edward Klein shot Edward Weintal. And Edward Weintal shot Arleigh Burke. And Arleigh Burke shot James C. Thompson. And James C. Thompson shot Alison Knowles. And Alison Knowles shot Walter Hinchup. And Walter Hinchup shot Pedlar Forrest. And Pedlar Forrest shot Jim Gym. And Jim Gym shot James McBride. And James McBride shot Cyrus Partovi. And Cyrus Partovi shot Lewis P. Bohler.
And James Earl Ray shot Martin Luther King. And Coretta King shot Jacqueline Fisher. And Jacqueline Fisher shot Ernest Brennecke. And Ernest Brennecke shot Peggy Bomba. And Peggy Bomba shot Barry A. Erlich. And Barry A. Erlich shot James E. Huddleston. And James E. Huddleston shot Jerry Miller. And Jerry Miller shot Robert Nordvall. And Robert Nordvall shot William E. Harris. And William E. Harris shot Marguerite Sekots. And Marguerite Sekots shot Vernard Foley. And Vernard Foley shot Dale C. Kisteler. And Dale C. Kisteler shot Bruce Sperber. And Bruce Sperber shot Kay Flaherty. And Kay Flaherty shot Sol Babitz. And Sol Babitz shot Richard M. Clurman. And Richard M. Clurman shot Frederick Gruin. And Frederic Gruin shot Edward Jackson. And Edward Jackson shot Judson Gooding. And Judson Gooding shot Rosemarie Zadikov. And Rosemarie Zadikov shot Donald Neff. And Donald Neff shot Joseph J. Kane. And Joseph J. Kane shot Mark Sullivan. And Mark Sullivan shot Barry Hillenbrand. And Barry Hillenbrand shot Linda Young. And Linda Young shot Nina Wilson. And Nina Wilson shot Jack Meyes. And Jack Meyes shot Arlie W. Schardt. And Arlie W. Schardt shot Roger M. Williams. And Roger M. Williams shot Marcia Gauger. And Marcia Gauger shot Nancy Williams. And Nancy Williams shot Susanne W. Washburn. And Susanne W. Washburn shot Timothy Tyler. And Timothy Tyler shot David C. Lee. And David C. Lee shot James E. Broadhead. And James E. Broadhead shot Robert S. Anson. And Robert S. Anson shot Robert Parker. And Robert Parker shot Donald Birmingham. And Donald Birmingham shot John Steele. And John Steele shot Fortunata Vanderschmidt. And Fortunata Vanderschmidt shot Stephanie Trimble. And Stephanie Trimble shot Hugh Sidey. And Hugh Sidey shot Edwin W. Goodpaster. And Edwin W. Goodpaster shot Bonnie Angelo. And Bonnie Angelo shot Walter Bennett. And Walter Bennett shot Martha Reingold. And Martha Reingold shot Lane Fortinberry. And Lane Fortinberry shot Jess Cook. And Jess Cook shot Kenneth Danforth. And Kenneth Danforth shot Marshall Berges. And Marshall Berges shot Samuel R. Iker. And Samuel R. Iker shot John F. Stacks. And John F. Stacks shot Paul R. Hathaway. And Paul R. Hathaway shot Raissa Silverman. And Raissa Silverman shot Patricia Gordon. And Patricia Gordon shot Greta Davis. And Greta Davis shot Harriet Bachman. And Harriet Bachman shot Charles B. Wheat. And Charles B. Wheat shot William Bender. And William Bender shot Alan Washburn. And Alan Washburn shot Julie Adams. And Julie Adams shot Susan Saner. And Susan Saner shot Richard Burgheim. And Richard Burgheim shot Larry Still. And Larry Still shot Alten L. Clingen. And Alten L. Clingen shot Jerry Kirshenbaum.
And Lee Harvey Oswald shot John F. Kennedy. And Jacqueline Kennedy shot Mark S. Goodman. And Mark S. Goodman shot Beverley Davis. And Beverley Davis shot James Willwerth. And James Willwerth shot John J. Austin. And John J. Austin shot Nancy Jalet. And Nancy Jalet shot Leah Shanks. And Leah Shanks shot Christopher Porterfield. And Christopher Porterfield shot Edward Hughes. And Edward Hughes shot Madeleine Berry. And Madeleine Berry shot Hilary Newman. And Hilary Newman shot James A. Linen. And James A. Linen shot James Keogh. And James Keogh shot Putney Westerfield. And Putney Westerfield shot Oliver S. Moore. And Oliver S. Moore shot James Wilde. And James Wilde shot John T. Elson. And John T. Elson shot Rosemary Funger. And Rosemary Funger shot Piri Halasz. And Piri Halasz shot William Mader. And William Mader shot John Larsen. And John Larsen shot Joy Howden. And Joy Howden shot Andria Hourwich. And Andria Hourwich shot Betty Sukyer. And Betty Sukyer shot Ingrid Krosch. And Ingrid Krosch shot John Koffend. And John Koffend shot Rodney Sheppard. And Rodney Sheppard shot Ruth Brine. And Ruth Brine shot Judy Mitnick. And Judy Mitnick shot Paul Hathaway. And Paul Hathaway shot Manon Gaulin. And Manon Gaulin shot Katherine Prager. And Katherine Prager shot Marie Gibbons. And Marie Gibbons shot James E. Broadhead. And James E. Broadhead shot Philip Stacks. And Philip Stacks shot Peter Babcox. And Peter Babcox shot Christopher T. Cory. And Christopher T. Cory shot Erwin Edleman. And Erwin Edleman shot William Forbis. And William Forbis shot Ingrid Carroll.

The Arrival

A little exchange in Polish on this mind-blowing graphic novel.

Secret bible of the paleo-steampunks

Secret bible of the paleo-steampunks: Mayhew’s “London Labour and the London Poor”
Posted by Cory Doctorow, April 14, 2009 7:08 AM | permalink

On Sunday, I was on a panel about steampunk at the Eastercon in Bradford with Tim Powers, one of the original creators of steampunk literature (see his Anubis Gate). Halfway through, Powers mentioned
casually that he came to write a science-fictional book influenced by Victorian England after reading, London Labour and the London Poor, a classic text by Henry Mayhew. Powers said that the book was KW Jeter’s (Jeter coined the term “steampunk”) and that it was passed around to both Powers and James Blaylock, three friends whose works were, arguably, the first steampunk novels ever written.

Powers said words to the effect of, “After reading this book, I realized that I had a whole novel’s worth of research right there.” It struck me that I’d never heard this story before, and that here, in this book, there was an important origin story about one of the major ways that an entire genre of literature, making, film and comics came into being….

Mayhew, Henry. London Labour and the London Poor (1861)

http://books.google.com/books?id=Q4oBAAAAQAAJ
http://etext.virginia.edu/toc/modeng/public/MayLond.html
http://us.penguingroup.com/nf/Book/BookDisplay/0,,9780140432411,00.html?London_Labour_and_the_London_Poor_Henry_Mayhew

Eve Kosofsky-Sedgwick

.. died.

Paleo-futures

The Paleo-Future blog was started by Matt Novak in January of 2007. Matt has since become an accidental expert on past visions of the future, and has amassed the world’s largest (only?) library of media related to the study of paleo-futurism. Very interesting.

Manhattan

I turned in mid-bridge and looked back where we had walked, saw the miles of fossil-fuel blazing, the millenia of buried plant beds going up in smoke in an endless point-tapestry of yellows and fire-blue greens and incandescent whites - a rush of unstoppable, jarring intervals. No matter how I moved or where I stood, I seemed plunged dead-set in the middle of the known world.