Here are some paintings from two 20th century artists whose work I recently caught wind of---the Russian surrealist Eugene Berman (1899-1972) and Icelandic postmodernist Erró aka Gudmundur Gudmundsson (born July 19, 1932).
Some of Eugene Berman's work reminds me of Dali's desolate haunted dreamscapes.
The works of Erró on the other hand are abundant kaleidoscopic collages of pop culture and modern media. Famous works of art commingle with comic book heroes, Disney cartoons, and the imagery of popular advertisements in his all-encompassing feasts of visual consumption. His work feels like a perfect representation of what postmodernism claims to be---sampling from all available art forms, the raw materials deconstructed and reorganized, juxtaposed and arranged to make one see it all in a new way.
Saturday, March 3, 2018
Looking over at the Blog Archive for "A Building Roam" one notices that in the eight full years of its existence, the number of posts has steadily declined:
Obviously I must have been really excited to have a place to channel my writing when this thing first got going back in 2010. Don't know how the hell I managed to post 119 times. I guess because I was working part-time in those days, unwilling to fully jump into the rat race and content to barely scrape by money-wise. I hoped the practice of writing this blog would lead me to a writing career. The biggest drop-off happened in 2013 when the total number of posts fell by more than half from the previous year. A few reasons for that: that year I met the girl who would become my fiancée; started working full-time; and started writing a second blog. Since then my blog posting has slowed down considerably.
I have no plans to shutter this place, though. In fact, I've got many ideas in the pipeline. Another noticeable reason for the decline in activity here is I've put more focus on writing longer, more thoughtful posts that are more like essays, rather than just posting video clips or music or article links or quotations or other brief snapshots of the moment. But I do have a backlog of those things to share here as well.
There are many other reasons for this blog being quiet of late. Most importantly, my writing energies have been invested in other projects---not just the other blog, but also two books I've been chipping away at for years now. They both seem stuck in a state of being half-finished no matter how much work I put into them. It's looking like I'm going to be presenting a paper at a James Joyce conference in Antwerp, Belgium in a few months, so I'm working on that too. I'm also working full-time at a challenging job, dealing with a torturous daily commute, managing a bi-monthly reading group, taking care of chores at my house, being present in a relationship, reading as many books as I can, watching lots of sports, exercising irregularly, and occasionally relaxing or socializing. All that and I'm trying to maintain a balance of staying aware of what's going on in the world without losing my mind.
All of which is just to say---there's plenty more to look forward to in this space so please stick around!
Friday, December 15, 2017
The true alchemists do not change lead into gold; they change the world into words.
- William H. Gass
I think of myself as a writer of prose rather than a novelist, critic, or storyteller, and I am principally interested in the problems of style. My fictions are, by and large, experimental constructions; that is, I try to make things out of words the way a sculptor might make a statue out of stone.
- William H. Gass
One of my favorite writers, William H. Gass, died last week at age 93. Since discovering his work a few years ago, I'd actually found it surprising that he was still alive. A figure such as he, tirelessly devoted to the primacy of the aesthetic experience of literature, seemed entirely incongruent living within our current times besotted with screen-addiction and momentary attention spans.
Gass made his living as a philosophy professor in St. Louis, Missouri of all places, while carving out a career as a prolific author and literary critic. His novels sit high atop the postmodern pedestal, but it was the delicious prose of his award-winning essays that led me to prostrate before the master in awe. Gass was a prose stylist extraordinaire, a devoted sentence sculptor who sought the perfect arrangement of sound and syllable in everything he wrote. I'll never forget the initial jolt of excitement upon experiencing his writing for the first time. It struck me that I now had all my life to devour everything this magnificent author had written. I was on vacation in Denver, staying at an Airbnb in a refurbished old gas station when I cracked open the book of essays A Temple of Texts and was entranced at the erudition and passion Gass delivered through a prose that was alive, popping, rhythmic, serious yet fun. I've never encountered anyone who can so perfectly communicate the rapturous pleasure of reading books, actual physical texts. I encountered his incredible essay "A Defense of the Book" and nearly stayed up all night reading it; only Gass could turn lit crit into a page-turner. Observe his argument for owning books and keeping a library:
Should we put these feelings for the object and its vicissitudes down to simple sentimental nostalgia? to our commonly assumed resistance to change? I think not; but even as a stimulus for reminiscence, a treasured book is more important than a dance card, or the photo that freezes you in mid-teeter at the edge of the Grand Canyon, because such a book can be a significant event in the history of your reading, and your reading (provided you are Significant) should be an essential segment of your character and your life. Unlike the love we've made or meals we've eaten, books congregate to form a record around us of what they've fed our stomachs or our brains. These are not a hunter's trophies but the living animals themselves.It was my friend Charlie, a fellow book fiend whose knowledge bank is substantial with 20th century scribes, who pointed me towards William Gass. A few years ago I had asked him to recommend some modern authors who specialize in exquisite prose style. He'd already led me to Pynchon's novels and now he recommended the likes of William Gaddis and William Gass. I soon read Gaddis' A Frolic of His Own and sought out Gass, zipping through his short story collection and the monograph On Being Blue with mixed feelings about both. Once I found my way into the Temple of Texts, though, there was no escaping. I picked up another essay collection, Finding a Form, and marveled at pieces like "The Book as Container of Consciousness" and "The Vicissitudes of the Avant-Garde" and then slowly devoured Life Sentences whose most striking piece was a lengthy, sober meditation on the unfathomable, sublime quantity of people slaughtered by the Nazi regime. Since learning of his passing, I've summoned copies of the other essay collections produced by Mr. Gass from all corners of the globe to converge in my library.
The recommendation from Charlie came on the strength of the novel The Tunnel, Gass's masterpiece that he labored on for 30 years. I've been distantly circulating around that cinderblock-sized meganovel for a little while now, reluctant to get too close to it but intending to read it eventually. Book critic Steven Moore called it "truly one of the great books of our time" and observed, "The sheer beauty and bravura of Gass's sentences are overwhelming, breathtaking; the novel is a pharaoh's tomb of linguistic treasures."
I had actually written up my thoughts about William Gass last weekend upon hearing the news of his death, only to have that piece suddenly disappear into the ether. It was a rare and infuriating experience, but I soon accepted Joyce's dictum that mistakes are portals of discovery. It dawned on me that William Gass had nearly finished composing his first novel, Omensetter's Luck, when the manuscript was stolen off his desk, forcing him to devote six months to rewriting it all from scratch. (The resulting novel was hailed by The New Republic as "the most important work of fiction by an American in this literary generation" and listed among David Foster Wallace's "direly underappreciated" novels of the latter half of the 20th century.) This kind of devotion and determination exemplifies Gass's standing as a writer's writer. He was a fiercely passionate celebrant of the artfully written word, a prolific composer of ornate prose, and his penchant for luxuriating on the love of letters has served to exponentially amplify my own enjoyment of literature.
In the wake of his passing, a number of thoughtful obits have popped up. Here are links to those with some choice chunks from each as well as links to some Gass interviews.
Sunday, November 19, 2017
The sheen on the iron "W" was scuffed following Wu-Tang Clan's disappointing 2014 album A Better Tomorrow and the whole distasteful debacle of the Once Upon a Time in Shaolin project. Maybe any press is good press, but while Wu-Tang remains generally beloved and un-fucked-with, the PR hit resulting from the one-two punch of teasing fans with a new Wu-Tang Forever-sounding album assembled by one of the team's freshest new beat-makers sold as one single secret copy to one of the most hated men in the world while instead serving to the public a fractured and subpar group project produced by a rusty and out-of-touch RZA, definitively marked a low point in the Wu-Tang legacy. Maybe the lowest point.
Not to be kept down for long, the Wu phoenix has re-arisen again. The whole Wu-Tang conglomerate has regrouped and brought forth a swarm in 2017, releasing a slew of new projects that serve to reassert their present skills and still-fearsome roster depth while burnishing the legacy of the brand. No bullshit, no gimmicks, just dope beats and dope rhymes. (To top it off, the asshole who acquired the single copy album, Martin Shkreli, was sentenced to prison in a case where a prospective juror stated on the record that he held a grudge against Shkreli because "he disrespected the Wu-Tang Clan.")
Here are some capsule reviews of the new projects brought forth in 2017 thus far.