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стремнина

19 February 2013 | Internet, Lifeform, Literature, Twitter | 1 Comment

quote of the day:

Did these streams of bizarrely inspired thought-fragments exist before Twitter? Or, has Twitter generated them?

Joyce Carol Oates, an author, aged 74.

  

чувство ритма

12 November 2012 | Lifeform, Media | 2 Comments

еще о формах:

An ideal tweet is the last line of a poem not visible.

Joyce Carol Oates, an author, aged 74.

  

ставки

29 September 2009 | Literature, Sport | 1 Comment

The Guardian снова опубликовал котировки к предстоящей церемонии:

Israeli novelist Amos Oz is the favourite to take this year’s Nobel prize for literature, according to the bookies.

Ladbrokes has backed Oz at 4/1 to take the 10m Swedish Krona (£815,000) prize, ahead of Algerian novelist Assia Djebar at 5/1, Spanish writer Juan Goytisolo at 6/1 and American novelists Joyce Carol Oates and Philip Roth at 7/1. But Oz needn’t start preparing his Nobel speech quite yet: last year’s eventual winner, the French novelist JMG Le Clézio, was initially given odds by Ladbrokes of 14/1 – although these fell after a sustained gamble down to 2/1 before Ladbrokes closed its books with Le Clézio as 1/2 favourite.

Odds on reclusive American writer Thomas Pynchon have narrowed to 9/1 – last year he was at 20/1 (and 40/1 to win and attend the ceremony).

прогресс, то есть, налицо. хотя лучше там и вовсе не участвовать.

  

some tweets take hours to write, some are just side notes for myself

7 November 2013 | Literature, Media | No Comments

Алехандро Ходоровски о медиуме и искусстве:

MARGARET BARTON-FUMO: So is Twitter a new form of expression for you?
ALEJANDRO JODOROWSKY: Yes. Artistic. Because I don’t speak about me. The expression is limited, and they’ve become the haikus of our century. I use it to share ideas—poetical, philosophical ideas. I seem to help, I answer questions. I give consultations, things like that. When I started, people laughed at me because they said it’s just for idiots, who write what they eat, what they do. It’s a tool for the politicians, celebrities, athletes, to make poems, or to make philosophy. They called me crazy. I said no, no! It is an art. I will make it an art, and I did.

и дальше:

KLAUS BIESENBACH: Literature…
ALEJANDRO JODOROWSKY: The only literature that is important to me is poetry. It is about the maximum expression of a concept in the minimum amount of words. Now it’s Twitter. This is literature for me…
KLAUS BIESENBACH: Twitter? [laughs]
ALEJANDRO JODOROWSKY: Yes, to put an enormous quantity of thoughts into 140 characters. It’s about compression.

кто бы спорил.

помните, Бродский в своем эссе о стихотворении Марины Цветаевой на смерть Райнера Рильке писал очевидное:

[П]оэтическая речь — как и всякая речь вообще — обладает своей собственной динамикой, сообщающей душевному движению то ускорение, которое заводит поэта гораздо дальше, чем он предполагал, начиная стихотворение. Но это и есть главный механизм (соблазн, если угодно) творчества, однажды соприкоснувшись с которым (или: которому поддавшись), человек раз и навсегда отказывается от всех иных способов мышления, выражения — передвижения.

именно так, компрессия; окольный путь во избежание многословия и прочих distractions.

  

everyone feels exiled

29 July 2013 | Literature | No Comments

старое, 1978 года, интервью Джой Кэрол Оутс, чудесной:

INTERVIEWER: Do you find emotional stability is necessary in order to write? Or can you get to work whatever your state of mind? Is your mood reflected in what you write? How do you describe that perfect state in which you can write from early morning into the afternoon?

OATES: One must be pitiless about this matter of “mood.” In a sense, the writing will create the mood. If art is, as I believe it to be, a genuinely transcendental function—a means by which we rise out of limited, parochial states of mind—then it should not matter very much what states of mind or emotion we are in. Generally I’ve found this to be true: I have forced myself to begin writing when I’ve been utterly exhausted, when I’ve felt my soul as thin as a playing card, when nothing has seemed worth enduring for another five minutes… and somehow the activity of writing changes everything. Or appears to do so. Joyce said of the underlying structure of Ulysses—the Odyssean parallel and parody—that he really didn’t care whether it was plausible so long as it served as a bridge to get his “soldiers” across. Once they were across, what does it matter if the bridge collapses? One might say the same thing about the use of one’s self as a means for the writing to get written. Once the soldiers are across the stream…

или вот о поисках — и людях:

In a sense we are all post-Wake writers and it’s Joyce, and only Joyce, who casts a long terrifying shadow… The problem is that virtuoso writing appeals to the intellect and tends to leave one’s emotions untouched. When I read aloud to my students the last few pages of Finnegans Wake, and come to that glorious, and heartbreaking, final section (“But you’re changing, acoolsha, you’re changing from me, I can feel”), I think I’m able to communicate the almost overwhelmingly beautiful emotion behind it, and the experience certainly leaves me shaken, but it would be foolish to think that the average reader, even the average intelligent reader, would be willing to labor at the Wake, through those hundreds of dense pages, in order to attain an emotional and spiritual sense of the work’s wholeness, as well as its genius. Joyce’s Ulysses appeals to me more: That graceful synthesis of the “naturalistic” and the “symbolic” suits my temperament… I try to write books that can be read in one way by a literal-minded reader, and in quite another way by a reader alert to symbolic abbreviation and parodistic elements. And yet, it’s the same book—or nearly. A trompe l’oeil, a work of “as if.”

плюс, небольшая зарисовка.

  

всеобхватность

21 March 2013 | Literature | No Comments

прекрасная Джойс Кэрол Оутс не устает меня поражать — вот, например, ее чудесная статья о Лавкрафте (и замечательно составленная компиляция).