- Judith Butler in Giving an Account of Oneself writes, “[W]e must recognise that ethics requires us to risk ourselves precisely at moments of unknowingness, when what forms us diverges from what lies before us, when our willingness to become undone in relation to others constitutes our chance of becoming human. To be undone by another is a primary necessity, an anguish, to be sure, but also a chance–to be addressed, claimed, bound to what is not me, but also to be moved, to be prompted to act, to address myself elsewhere, and so to vacate the self-sufficient “I” as a kind of possession. If we speak and try to give an account from this place, we will not be irresponsible, or, if we are, we will surely be forgiven.”
- Giorgio Agamben writes in The Coming Community: “This fascination of not uttering something absolutely.”
- What has always fascinated me about the Sirens, whether written of by Euripides, Homer, Ovid or Hesiod, is that no one writes about the Sirens’ song. Žižek, in Cogito and the Unconscious reveals Tzvetan Todorov’s thesis, that the Sirens said to Odysseus just one thing: We are singing. Blanchot wrote, “Yes, they really sang, but not in a very satisfactory way. Their song merely suggested the direction from which the perfect song might come.”
- In Isak Dinesen’s The Dreamers a young soprano by the name of Pellegrina Leoni loses her singing voice after an accident happens whilst she is singing Donna Anna’s beautiful aria from Don Giovanni. As the greatest soprano of her day, without her enchanting voice,Pellegrinaisthoughtto be dead, giving her the freedom to travel the world under an assumed identity, living many intense adventures. No muteness is as tragic as a Sirens’ silence.
Lately I’ve listened to a lot of music, intensely, for two to three hours a day. My musical taste is shaped by the punk era, though by the time I discovered punk, it was all over. I’m a child of the post-punk period. Those are my formative musical years – about the only time I wish I was ten, even five years older is when I dream of being present for the early years of the Sex Pistols and the Bromley contingent. But it is post-punk that I still turn to: bands like Joy Division, The Cure, The Psychedelic Furs, Killing Joke, Echo and the Bunnymen, it has survived a lot better than most of the earlier punk stuff, which sounds crusty.
I’ve also been playing a fair amount of classical music, Schubert, Sibelius, Pärt, Ligeti and, of course, Beethoven whose late music is rough, abstract, beautiful and I’m kidnapping him as protopunk. The whole 60s-70s musical thing bores me to tears, with the exception of 70s Bowie (and from time to time, Dylan). I’m glad that I’m far too young to not remember the sixties. Jazz, which mostly I don’t get and what I do like is inextricably caught up with context, mostly from reading Geoff Dyer’s But Beautiful and The Colour of Memory, hence Mingus, Monk, Chet Baker, but dominated by Miles Davis, mostly because he so fucking cool.
Lately I’ve been to the cinema at least once a week, mainstream films like American Hustle (intelligently written, captivating), Wolf of Wall Street (usual bloated Scorcese male-ego study), and Gravity (silly but technologically fascinating). Despite twice lapping up all fifteen hours of Mark Cousins’ The Story of Film, my film tastes feel uncultured. I’ll watch Jean-Luc Godard, Éric Rohmer and Yasujirō Ozu films with great pleasure, but also with the sense that I am missing a lot of depth and meaning. Watching Room 237 (after reading Molly Laich’s top 2013 films list) showed me depths to my favourite horror film The Shining that I hadn’t even considered after watching it at least a dozen times.
Lately, surprise, surprise, I’ve also been reading a lot. Grace Dane Mazur’s Hinges: Meditations on the Portals of the Imagination is one of the most intelligent, sensitive readings of art and literature that I’ve read, ever. Both Carole Maso books were worthwhile but I preferred Defiance to Ava. Defiance succeeded in making a female psychopath multi-layered and sympathetic. It is also deeply upsetting. There were many beautiful moments in Ava but for me its fragmentary form never quite cohered into a sustained narrative, and I’m ambivalent about the literary romanticising of cancer and death. I had a fascinating debate on Twitter with @DeathZen about Elena Ferrante’s The Days of Abandonment. In a moment of afterglow I compared it to Greek tragedy, a bit silly, but its portrayal of mental collapse and fury is reminiscent of the aftermath of Jason’s desertion of Medea. Ferrante is no Euripides but she can write with great potency, and to borrow a phrase from James Woods, is able to rip ‘the skin off the habitual’. I’m reading Alix Cléo Roubaud’s Alix’s Journal, which is quietly devastating, immensely personal, and also the best book I’ve read so far this year.
I have read so many exceptional books this year. Samuel Beckett’s trilogy (Molloy, Malone Dies, The Unnamable) left me breathless, as did the first two volumes of Simone de Beauvoir’s memoirs (Memoirs of a Dutiful Daughter, The Prime of Life). My most recurrent author was Geoff Dyer as I read and reread to complete his oeuvre to date (Otherwise Known as the Human Condition, The Missing of the Somme, Working the Room, Paris, Trance and Jeff in Venice, Death in Varanasi), all works of great wit and sensitivity. And there were J. M. Coetzee’s essays (Inner Workings and Stranger Shores), both examples of criticism as works of art in their own right. I finally got around to Thomas Bernhard (Old Masters) and Peter Handke’s work (The Weight of the World and Across), every bit as intoxicating as I’d hoped. Anne Carson’s translation of An Oresteia was memorable, and only confirmed my wonder for everything she does.
My surprising fiction discoveries (I am always happily surprised to enjoy a new author’s work) were Teju Cole’s exceptionally exquisite Open City, J. M. Ledgard’s thrilling Submergence (thanks, Nicole), Vyacheslav Pyetsukh’s The New Moscow Philosophy (thanks Michelle) and Jenny Erpenbeck’s haunting Visitation.
Of the non-fiction, Masha Tupitsyn’s Laconia was charming and thought-provoking (to this day), Michael Levenson’s Modernism was the comprehensive history I was seeking. Stach’s Kafka biography leaves me starving for the next volume. My current book, Helen Small’s The Long Life is (so far) brilliant and a superb way to end the year.
I’m not able or willing to pick out a single favourite from either the fiction or non-fiction categories. I read a few books this year I loathed. Given the author is not living I will give Christopher Morley’s Parnassus on Wheels my coveted ‘I Wish I Could Get That Time Back Award’.
- 40% of the eighty books I read were in translation (mostly from German), up from 30% last year.
- 18% of the books I read were written by women; I am disappointed this is exactly the same as last year.
- 52% of the books I read were written by living authors, pretty much the same as 2010.
- 58% of the books I read were fiction, up 14% from last year.
Other literary highlights of my year were attending John Berger’s angry and passionate reading of Bento’s Sketchbook and Geoff Dyer’s enlightening talk about Camus.
Thanks to my book blogging friends, particularly Emily (Beckett, de Beauvoir) and Nicole (Goethe) with whom I shared reading explorations this year, and Frances whom I joined in a crazed attempt to read all 42 in Melville House’s Art of the Novella series, abandoning the attempt after thirteen novellas. I don’t participate in many read-a-longs but made an exception and had fun during German Literature month, organised by Caroline and Lizzy.
Traditionalists beware. An Oresteia is not a fusty, complex translation of Aiskhylos’s (Aeschylus to most of us, but I’ll run with Carson’s version for consistency) trilogy. On another plane, Robert Fagles and Richmond Lattimore can be heard thunderously grumbling.
Carson’s adaptation takes Aeschylus’s Agamemnon, and matches it with Sophocle’s Elektra and Euripedes’s Orestes. In doing so, she offers a very different reading of the trilogy that begins with Agamemnon’s return from the Trojan war and ends, surprisingly happily, with Apollo’s intervention to prevent a continuation of the tragic cycle of events. In a brief notes section, Carson quotes the director that persuaded her of the merits of this perspective:
I always think of these three tragedians as being associated with different times of a metaphoric day. Aiskhylos is dawnlike, with iconic ideas, images, and action emerging into the light of consciousness. Euripides presents a twilight where everything is susceptible to tricks of a fading light, where tonalities are hard to grasp, where one moment is an azure sunset, the next a starless night. Between them, Sophokles, under the glare of a noon sun that leaves nothing exposed.
With a limited background of Greek tragedy, I am not certain whether presenting an Oresteia combining the work of three playwrights is a fresh perspective, but it is remarkably potent.
Dramatic events aside, it is not possible to ignore Carson’s translation. Her language mutations are almost Joycean (“blackmouthing bitch”). Just occasionally I thought the translation into modern idiom went too far: the slave talking of “real bad shit happening” (though Carson qualifies this as “another quaint barbarian idiom”). That aside, the language is exhilarating, showing the continued importance and brilliance of these tragedies.
Inevitably, translations of this exuberance send me not only to Carson’s other Greek translations ( Euripides in Grief Lessons), but also to other Greek plays, even if I will have to settle for Lattimore’s less newfangled translations.
I recommend Emily’s detailed review of this translation.
Though I have mixed feelings about Folio Society editions, these are tempting. All the Greek tragedies in five volumes:
In five volumes, the extant works of Aeschylus, Sophocles and Euripides are gathered, with newly commissioned prefaces for each volume: Ruth Padel on Aeschylus, Simon Goldhill on Sophocles, and Peter Stothard, Lawrence Norfolk and Germaine Greer each introducing one of the Euripides volumes. The translations used, from the University of Chicago editions, have become the standard texts. A total of 33 great works of art are included, such as Pallas Athene attributed to Rembrandt and The Bacchae by Luca Giordano, with each plate tipped in, facing the title page of the play in question.