The Body is Right

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“Of course, it is impossible to live without others, without the body. And solitude is false, an illusion, like magic, as it was for Plato and the Platonists, for the mystics who cast off and condemn the body, not as an austere sacrifice, but for the great pride of being able to surpass physical ‘limitations.’ Living life outside of the world, being hermit in the desert—these are sealed exits. What then? To understand that you are—if you can be—the shape of the face, the ineptitude, the restlessness.”

— Ricardo Piglia, The Diaries of Emilio Renzi: Formative Years (trans. Robert Croll)

Recurrence

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“The point could be the following: to destroy—to attempt to destroy—personal fate as manifested in the repetition of events. We know that we repeat actions but do not remember. In this case, the point would be to deliberately remember some incidents from the past, over and over again. It might be a single event—for example, an afternoon playing chess at the club—remembered with the intention of reconstructing everything surrounding the scene. Another alternative would be to reread these notebooks, to choose something recorded there that you no longer remember and try to do the same thing again—that is, to try to reconstruct everything around that event. Of course, there is no assurance that you can overcome the repetition of events by remembering (for example, in my case, by remembering my tendency toward isolation), which has persisted since childhood, but, in any case, it would give a new dimension to the events. It’s like the reaction of a cat, scratching or biting when it is stepped upon by accident. Memory works in this way: you step on the toe of a memory and then the scratch and the blood come. Nevertheless, there doesn’t appear to be a solution; it is impossible to rectify the past. And there in the past is the event, one which you have forgotten but which is repeated in other ways—yet always the same, again and again.”

— Ricardo Piglia, The Diaries of Emilio Renzi: Formative Years (trans. Robert Croll)

Blind Spots

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“One of the lessons—if there really are lessons, because deep down it is idiotic to think you can learn from experience—is the fluctuation between what can be done or said and what can be neither said nor done. A diary should be written about the second part of the sentence; that is, you should ultimately write about the limits or the frontiers that make certain words or actions impossible. But where do those obstacles come from, the feeling that there is something—a space, a person, a series of actions—’that cannot be done?’ It wouldn’t mean a ‘real’ impossibility but rather a place it is prohibited to enter. Then we ask whom it is prohibited for and start again . . . It’s also true that my past (what Pavese calls personal destiny) allows me to see or define what I can do; the rest of the alternatives and options I could never see nor conceive of directly. Literature could be, among other things, helpful as away of discovering or describing these blind spots.” p.220

— Ricardo Piglia, The Diaries of Emilio Renzi: Formative Years (trans. Robert Croll)

Blind spots. “In the end, I will always be an outsider to things.” How to be known? My only regret is that I didn’t bring the second volume of diaries with me.

Most Anticipated New Books for 2018

In the first few months of last year I sampled rather more contemporary fiction than is usual for me. Frankly much of it wasn’t to my taste and ended up abandoned. Contemporary literature in any period tends toward mediocre, so it wasn’t too surprising.

This year, my new book purchasing will be much more restrained. These are those I am most looking forward to.

It isn’t any surprise that Seagull Books dominates the list as they have impeccable taste in bringing forth newly translated treasures. I also expect to make some new discoveries through my subscription to the always intriguing Fitzcarraldo Editions.

Giorgio Agamben, Pulcinella: Or Entertainment for Children (trans. Kevin Attell)
Giorgio Agamben, The Adventure (trans. Lorenzo Chiesa)
Friederike Mayröcker, Requiem for Ernst Jandl (trans. Rosalyn Theobald)
Ilse Aichinger, Bad Words (trans. Uljana Wolf and Christian Hawkey)
Pascal Quignard, Villa Amalia (trans. Chris Turner)
Rachel Cusk, Kudos
Claudio Magris, Journeying (trans. Anne Milano Appel)
Dag Solstad, Armand V (trans. Steven T. Murray)
Dag Solstad, T Singer (trans. Tiina Nunnally)
Peter Handke, The Great Fall (trans. Krishna Winston)
Jon Fosse, Scenes from a Childhood
Esther Kinsky, River (trans. Iain Galbraith)
Clarice Lispector, The Chandelier (trans. Benjamin Moser and Magdalena Edwards)
Cesare Pavese, The Beautiful Summer
Alberto Manguel, Packing My Library: An Elegy and Ten Digressions
Joanna Walsh, Break.up
Kate Zambreno, Drifts (since confirmed for early 2019)
Ismail Kadare, Essays on World Literature Shakespeare, Aeschylus, Dante

Futuristic Howling

Woodcut from A 1564 edition of La Divina Comedia from Arévalo, Spain

Woodcut from A 1564 edition of La Divina Comedia from Arévalo, Spain

If the halls of the Hermitage would suddenly go mad, if the paintings of all schools and masters should suddenly break loose from the nails, should fuse, intermingle, and fill the air of the rooms with futuristic howling and colours in violent agitation, the result then would be something like Dante’s Commedia.

Osip Mandelstam, A Conversation with Dante, as quoted in Alberto Manguel’s Curiosity, Yale University Press, 2015