skandalon

art story storytelling narrative novel author science_fiction vonnegut humor kafka reblog

✖ Via

Lapham’s Quarterly: Kurt Vonnegut at the Blackboard, New York City, 2005

I want to share with you something I’ve learned. I’ll draw it on the blackboard behind me so you can follow more easily [draws a vertical line on the blackboard]. This is the G-I axis: good fortune-ill fortune. Death and terrible poverty, sickness down here—great prosperity, wonderful health up there. Your average state of affairs here in the middle [points to bottom, top, and middle of line respectively]. This is the B-E axis. B for beginning, E for entropy. Okay. Not every story has that very simple, very pretty shape that even a computer can understand [draws horizontal line extending from middle of G-I axis]. Now let me give you a marketing tip. The people who can afford to buy books and magazines and go to the movies don’t like to hear about people who are poor or sick, so start your story up here [indicates top of the G-I axis]. Read on

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― Or, as my grandmother once put it to my mother: ‘Your father would be a wonderful man, if only he were different.
― Ha
― Yes, ha. A whole epic of pain and suffering reduced to a single sentence.
― Matrimony as a swamp, as a lifelong exercise in self-delusion.

✖ Via Leviathan by Paul Auster, New York: Penguin, 1992, p. 91

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America was never innocent. We popped our cherry on the boat over and looked back with no regrets. You can’t ascribe our fall from grace to any single event or set of circumstances. You can’t lose what you lacked at conception.

✖ Via American Tabloid by James Ellroy, New York: Ivy Books, 1995, p. 1

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We never know anything about anyone. I used to think the same think about your marriage, and look what happened to you and Delia. It’s hard enough keeping track of ourselves. Once it comes to other people, we don’t have a clue.

✖ Via Leviathan by Paul Auster, New York: Penguin Books, 1992, p. 107

It reminds me of a line of dialogue in Alain Resnais’ Hiroshima Mon Amour (1959) (I’ll quote from memory):

On croit savoir, et puis non, jamais.

Previously on Skandalon: Paul Auster’s Leviathan

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The better I got to know him, the more his productivity awed me. I have always been a plodder, a person who anguishes and struggles over each sentence, and even on my best days I do no more than inch along, crawling on my belly like a man lost in the desert. The smallest word is surrounded by acres of silence for me, and even after I manage to get that word down on the page, it seems to sit there like a mirage, a speck of doubt glimmering in the sand. Language has never been accessible to me in the way that it was for Sachs. I’m shut off from my own thoughts, trapped in a no-man’s-land between feeling and articulation, and no matter how hard I try to express myself, I can rarely come up with more than a confused stammer. Sachs never had any of these difficulties. Words and things matched up for him, whereas for me they are constantly breaking apart, flying off in a hundred different directions. I spent most of my time picking up the pieces and gluing them back together, but Sachs never had to stumble around like that, hunting through garbage dumps and trash bins, wondering if he hadn’t fit the wrong pieces next to each other.

✖ Via Leviathan by Paul Auster, New York: Penguin, 1992, p. 55

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I thought all these other people. I thought how did they get to be who they are. It’s banks and car parks. It’s airline tickets in their computers. It’s restaurants filled with people talking. It’s people signing the merchant copy. It’s people taking the merchant copy out of the leather folder and then signing it and separating the merchant copy from the customer copy and putting their credit card in their wallet. This alone could do it.

✖ Via Cosmopolis by Don DeLillo, New York: Scribner, 2003, p. 195

Previously on Skandalon: Cosmopolis, Don DeLillo

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Mais l’accusation a buté sur le pourquoi des actes de celui qui, comme l’avait indiqué à l’audience le témoin Jean-Pierre Mustier, « vivra et mourra comme étant le trader au monde ayant fait perdre le plus d’argent à sa banque ». « Fou ou incompétent?” a demandé Jean-Michel Aldebert. Philippe Bourion avait évoqué une autre hypothèse: celle d’une « variante financière du bovarysme, qui consiste à se voir autrement que l’on est, à se donner des sensations fortes”. “Il y aura un avant et un après Kerviel dans les banques”, a affirmé le procureur, tout en s’interrogeant sur la capacité du système à lutter contre un nouveau « génie dévastateur ».

✖ Via Le Monde: “Me Metzner: “Qui a fabriqué Jérôme Kerviel”?”, Chroniques Judiciaires, by Pascale Robert Diard, June 25th, 2010

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No one can say where a book comes from, least of all the person who writes it. Books are born out of ignorance, and if they go on living after they are written, it’s only to the degree that they cannot be understood.

✖ Via Leviathan by Paul Auster, New York: Penguin, 1992, p. 40

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art poem poet history united_states statue_of_liberty liberty representation immigration lost loser land hope community hobbes leviathan monster politic novel author communication

✖ Via Library of Congress ― From Haven to Home: “The New Colossus” [titled “Sonnet” in notebook] by Emma Lazarus, 1883, manuscript poem, bound in journal.

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tossed to me,
I lift my lamp beside the golden door!”

The Statue of Liberty as a female counterpart of Hobbes’ Leviathan (Lazarus’ poem is mentioned in Auster’s novel Leviathan); the United-States as the land of the “wretched refuse”. Is this the “community of those who are without community” (“all of us, from now on” writes Jean-Luc Nancy) ? Read more about Lazarus’ poem on wikipedia.

About the exhibition From Haven to Home:

From Haven to Home is a Library of Congress exhibition marking 350 years of Jewish life in America. The exhibition features more than two hundred treasures of American Judaica from the collections of the Library of Congress, augmented by a selection of important loans from other cooperating cultural institutions. (more)

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✖ Via

David Vivó photostream on Flickr: personal project, Paul Auster’s “Leviathan” book cover / 120x185 mm

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