Kate Zambreno’s Green Girl

Kate Zambreno’s Green Girl offers readers an unconventional reading experience, an allusive and multivalent work that plays with form and style to a degree that shouldn’t come off. That is does is a result of her expressive power and the fluency of her writing.

Narrated by an omnipresent narrator through the experiences and emotions of a pretty, young American girl living and working in a series of menial jobs in London, Zambreno’s central themes are youth, beauty, and alienation. But this perceptive study of intensities does double-time as an exploration of character-creation and the creative process. The influence of modern experimentalists such as Jean Rhys is evident, as is the novel’s prefiguration of what Chris Kraus terms lonely-girl phenomenology.

My impression from reading Kate Zambreno’s Heroines and Green Girl is of a writer fully engaged with tackling the event of modernism, who is establishing a powerful and exciting body of work. I am mad keen to read more.

Thoughts on Chris Kraus’ I Love Dick

Chris Kraus reading from "I Love Dick"
Chris Kraus reading from “I Love Dick”

My copy of Chris Kraus’ I Love Dick is full of scribbles and underlining, flecked with coloured markers, sections I will now transfer to my notebook. These are mostly in the second part. I enjoyed the first part of the novel but it didn’t feel as remarkable as the second. Soon into the second part my pulse quickened and I read to the end in a frenzy.

Apart from a couple of brief conversations on Twitter I have avoided the pre-text to I Love Dick so read it as fictionalised memoir and essay. Kathy Acker’s influence is palpable, and in turn the influence on Zambreno’s brilliant Heroines. I Love Dick is fifteen years old but “men still ruin women’s lives” and the book will stay relevant until that no longer remains the norm.

The second half of this book blew the top of my head off. Its extended pieces of art criticism are simply brilliant. Although informed by theory, it is not a deeply allusive novel, and stands alone as a serious piece of literature, one using the epistolary form, which I normally avoid but in this case is the only form possible for this particular narrative.

I’ll be thinking a lot more about this book, sitting as it does neatly with Heroines but also with my reading of Cixous. Let me leave behind a small number of the shorter pieces I underlined.

  1. I think our story is performative philosophy.
  2. Who gets to speak and why is the only question.
  3. Men still ruin women’s lives.
  4. To be female still means being trapped within the purely psychological. No matter how dispassionate or large a vision of the world a woman formulates, whenever it includes her own experience and emotion, the telescope’s turned back on her. Because emotion’s just so terrifying the world refuses to believe that it can be pursued as discipline, as form.
  5. There’s not enough female irrepressibility written down.
  6. I think the sheer fact of women talking, being, paradoxical, inexplicable, flip, self-destructive but above all else public is the most revolutionary thing in the world. I could be twenty years too late but epiphanies don’t always synchronise with style.
  7. What happens between women now is the most interesting thing in the world because it’s least described.

I have the sequel Torpor on order.

Fassbinder once said

I detest the idea that love between two persons can lead to salvation. All my life I have fought against this oppressive type of relationship. Instead, I believe in searching for a kind of love that somehow involves all of humanity.

Rainer Werner Fassbinder
(Quoted in Chris Kraus’ I Love Dick)

Some Well-Intentioned Reading Ideas for 2013

So, in my review of this year’s reading I vowed to make no reading resolutions for 2013, not because I don’t have some ideas, but writing about them pretty much guarantees serendipity will lead me in a completely different direction. But I’m going to chuck a few ideas into the void, for no other reason than it helps me think.

Since my post dealing with feminine writing, I’ve started to identify a series of writers that I plan to read more thoroughly, more Cixous obviously. My touchstone book for 2012 was Kate Zambreno’s brilliant Heroines. The book  is the sort of polymorphous text that opens up new possibilities for biography, literary criticism and memoir. Read if you must but don’t be mislead by reviews of Heroines that reveal more about the prejudice of the reviewer than the text. Helen’s or Michelle’s reviews offer a more balanced, less blimpish point of view. I’ll be taking inspiration from both Kate Zambreno’s blog (a project now ended) and Heroines and reading writers like Jean Rhys, Djuna Barnes, Olive Moore, obviously more Clarice Lispector and Claude Cahun. I’m also interested in those treading similar ground, writers like Chris Kraus, Vanessa Place, Tamara Faith Berger and Dodie Bellamy. I also plan to read some Julia Kristeva and Kate Zambreno’s earlier Green Girl.

There are some thrilling new books due next year, so I will definitely be reading any new books that appear by László Krasznahorkai, JM Coetzee’s The Childhood of Jesus and the collection of letters between Coetzee and Paul Auster, Giorgio Agamben’s Nymphs, Amelie Nothomb’s Life Form, Sonallah C Ibrahim’s That Smell and Notes from Prison and William Gass’s Middle C. The second (and possibly third) volume of Reiner Stach’s Kafka biography is due and unmissable.

I’ve started reading Benoît Peeters’ Derrida biography and plan to read more Derrida. I’ve got plans to read Wittgenstein, Deleuze and Adorno more deeply, and want to explore further what Ray Brassier is doing. Oh, and I seriously intend to get back to Thomas Bernhard and Peter Handke.

If I achieve half of these goals I’ll be happy and no doubt serendipity will hijack my intentions along the way.

Thanks for reading Time’s Flow Stemmed. Have a good holiday.