Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921796
Mark Fishbein
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Wherever I'm At: An Anthology of Chicago Poetry</em> ed. by Donald G. Evans and Robin Metz <!-- /html_title --></li> <li> Mark Fishbein (bio) </li> </ul> <em><small>wherever i'm at: an anthology of chicago poetry</small></em> Edited by Donald G. Evans and Robin Metz<br/> After Hours Press and Third World Press<br/> https://thirdworldpressfoundation.org/product/wherever-im-at-an-anthology-of-chicago-poetry/<br/> 311 pages; Print, $25.00 <p>I am a poet, and a city boy, spending most of my life in Manhattan with a few years in Paris and a decade in Washington, DC. So I guess I'm a city snob. My son found himself in Chicago after college and is raising his family there, so I have visited quite frequently over the past twenty years. What was Chicago to me? "Perhaps a nice place to live," I often said, "but I wouldn't want to visit." Especially in winter, when even the penguins avoid it. It's the place where <em>the man danced with his wife</em> in the famous song. Deep-dish pizza to send you to the ER. Great if your passion is sky scrapper Architecture (capital A!). Eliot Ness and Al Capone. Paul Butterfield Blues Band telling me <em>son, you better get a gun</em>.</p> <p>Last week, at the time of this writing, I moved here, permanently. Family first. How serendipitous to be asked to review an anthology of 134 poets offering a poem with Chicago as the theme? How better to discover the soul of a city? Here poets were asked to do what Whitman did for New York, Baudelaire and Apollinaire for Paris, Keats for Rome, and Sandburg for Chicago (whose name is sadly not to be found in the preface or introduction, and only in 2 of the 134 poems). <strong>[End Page 127]</strong></p> <p>The sheer size of this collection is staggering. What is Chicago poetry? In the foreword, Carlo Rotella states:</p> <blockquote> <p>And I'd argue that Gwendolyn Brooks emerges here as the presiding figure of Chicago's poetic tradition.</p> </blockquote> <p>Surely a great poet, she, along with James Baldwin, Langston Hughes, and so many others, has universally redefined the Black experience in the twentieth century. Her easy style and use of dialects mixed with elegance have influenced all poetry, not only the 29 percent of the Chicago population being "Black or African American" according to the census. But there is no "school" of Chicago poetry I can decipher here, only the kaleidoscope of styles familiar in today's poetry anthologies.</p> <p>As the posted theme of this book is "Chicago," all the poems do mention something about the city: a street, a neighborhood, local stores, clubs, restaurants, or parks, but <em>place</em> is most often secondary to the narrative in the poem, as agreed by Mr. Rotella:</p> <blockquote> <p>Some of the subject matter that inspires the writers here may resemble what you'd find in Dayton, New York,
以下是内容的简要摘录，以代替摘要：评论者： 无论我在哪里唐纳德-埃文斯（Donald G. Evans）和罗宾-梅兹（Robin Metz）编著的《芝加哥诗选》 马克-菲什宾（Mark Fishbein）（简历） 无论我在哪：芝加哥诗选 唐纳德-埃文斯（Donald G. Evans）和罗宾-梅兹（Robin Metz）编著的《芝加哥诗选》（Athology of Chicago Poetry）After Hours Press and Third World Press https://thirdworldpressfoundation.org/product/wherever-im-at-an-anthology-of-chicago-poetry/ 311 页；印刷版，25.00 美元 我是一个诗人，也是一个城市男孩，我一生中的大部分时间都在曼哈顿度过，在巴黎呆过几年，在华盛顿特区呆过十年。因此，我想我是一个城市势利小人。我的儿子大学毕业后来到芝加哥，在那里养家糊口，所以在过去的二十年里，我经常去芝加哥。芝加哥对我来说是什么？"也许是个不错的居住地"，我常说，"但我不想去"。尤其是冬天，连企鹅都避之唯恐不及。在那首著名的歌里，男人和妻子在这里共舞。深盘披萨能把你送进急诊室。如果你的爱好是空中飞人建筑（大写的A！），那就再好不过了。艾略特-内斯和阿尔-卡彭保罗-巴特菲尔德蓝调乐队（Paul Butterfield Blues Band）告诉我，孩子，你最好拿把枪。上周，也就是写这篇文章的时候，我永久搬到了这里。家庭第一。应邀评论一本由 134 位诗人组成的选集，其中有一首以芝加哥为主题的诗？如何更好地发现一座城市的灵魂？在这里，诗人被要求做惠特曼为纽约所做的事，波德莱尔和阿波利奈尔为巴黎所做的事，济慈为罗马所做的事，以及桑德伯格为芝加哥所做的事（遗憾的是，在序言或导言中找不到桑德伯格的名字，134 首诗中只有两首出现了他的名字）。[这本诗集的规模之大令人咋舌。什么是芝加哥诗歌？卡洛-罗特拉在前言中写道： 我认为，格温多林-布鲁克斯是芝加哥诗歌传统的领军人物。 她无疑是一位伟大的诗人，她与詹姆斯-鲍德温、兰斯顿-休斯以及其他许多诗人一起，重新定义了 20 世纪黑人的经历。根据人口普查，芝加哥有 29% 的人口是 "黑人或非裔美国人"，而她轻松的风格和优雅中夹杂着方言的使用影响了所有诗歌。但在这里，我无法解读芝加哥诗歌的 "流派"，只能看到当今诗歌选本中熟悉的万花筒式的风格。由于本书的主题是 "芝加哥"，所有诗歌都提到了有关这座城市的一些内容：街道、社区、当地商店、俱乐部、餐馆或公园，但正如罗特拉先生所同意的那样，地点在诗歌的叙述中往往是次要的： 罗特拉先生也认为：激发作者创作灵感的一些题材可能与代顿、纽约或上海的题材相似，但有些题材是芝加哥独有的。 这本诗集中的每一首诗几乎都是精雕细琢、制作精良、"专业 "的，值得出版。其中许多诗歌都非常出色，令人难忘。但我更希望这本诗集篇幅更短、重点更突出，与 "世界猪屠夫 "的联系更紧密。在 134 首诗歌中，我将其中 35 首加入了书签，这些诗歌完全与芝加哥的生活体验联系在一起：对城市景观和密歇根湖、火车和公共交通、极端天气、民族、爵士乐和蓝调的丰富想象，以及神圣誓言和绝望的社区感。奇怪的是，没有人提到芝加哥也是美国的诗歌中心之一，是诗歌基金会、《诗歌》杂志和著名大学出版社的所在地。在进一步介绍之前，这本诗集还提供了二十七幅插图、照片和图表，其中许多都令人着迷。它们布局合理，见解独到。本书的编辑和排版都非常用心，尽管尝试过于雄心勃勃。[第 128 页末] 引言以 "芝加哥是什么样的？"这一问题开始，并以这一思考结束： 芝加哥是什么样的？还有这个。还有这个。还有这个。 密歇根大道与纽约第五大道不同。市中心呈现的是...
{"title":"Wherever I'm At: An Anthology of Chicago Poetry ed. by Donald G. Evans and Robin Metz (review)","authors":"Mark Fishbein","doi":"10.1353/abr.2023.a921796","DOIUrl":"https://doi.org/10.1353/abr.2023.a921796","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Wherever I'm At: An Anthology of Chicago Poetry</em> ed. by Donald G. Evans and Robin Metz <!-- /html_title --></li> <li> Mark Fishbein (bio) </li> </ul> <em><small>wherever i'm at: an anthology of chicago poetry</small></em> Edited by Donald G. Evans and Robin Metz<br/> After Hours Press and Third World Press<br/> https://thirdworldpressfoundation.org/product/wherever-im-at-an-anthology-of-chicago-poetry/<br/> 311 pages; Print, $25.00 <p>I am a poet, and a city boy, spending most of my life in Manhattan with a few years in Paris and a decade in Washington, DC. So I guess I'm a city snob. My son found himself in Chicago after college and is raising his family there, so I have visited quite frequently over the past twenty years. What was Chicago to me? \"Perhaps a nice place to live,\" I often said, \"but I wouldn't want to visit.\" Especially in winter, when even the penguins avoid it. It's the place where <em>the man danced with his wife</em> in the famous song. Deep-dish pizza to send you to the ER. Great if your passion is sky scrapper Architecture (capital A!). Eliot Ness and Al Capone. Paul Butterfield Blues Band telling me <em>son, you better get a gun</em>.</p> <p>Last week, at the time of this writing, I moved here, permanently. Family first. How serendipitous to be asked to review an anthology of 134 poets offering a poem with Chicago as the theme? How better to discover the soul of a city? Here poets were asked to do what Whitman did for New York, Baudelaire and Apollinaire for Paris, Keats for Rome, and Sandburg for Chicago (whose name is sadly not to be found in the preface or introduction, and only in 2 of the 134 poems). <strong>[End Page 127]</strong></p> <p>The sheer size of this collection is staggering. What is Chicago poetry? In the foreword, Carlo Rotella states:</p> <blockquote> <p>And I'd argue that Gwendolyn Brooks emerges here as the presiding figure of Chicago's poetic tradition.</p> </blockquote> <p>Surely a great poet, she, along with James Baldwin, Langston Hughes, and so many others, has universally redefined the Black experience in the twentieth century. Her easy style and use of dialects mixed with elegance have influenced all poetry, not only the 29 percent of the Chicago population being \"Black or African American\" according to the census. But there is no \"school\" of Chicago poetry I can decipher here, only the kaleidoscope of styles familiar in today's poetry anthologies.</p> <p>As the posted theme of this book is \"Chicago,\" all the poems do mention something about the city: a street, a neighborhood, local stores, clubs, restaurants, or parks, but <em>place</em> is most often secondary to the narrative in the poem, as agreed by Mr. Rotella:</p> <blockquote> <p>Some of the subject matter that inspires the writers here may resemble what you'd find in Dayton, New York, ","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"15 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140116496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921788
Bob Duxbury
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Twenty Stories</em> by Jack Driscoll <!-- /html_title --></li> <li> Bob Duxbury (bio) </li> </ul> <em><small>twenty stories</small></em> Jack Driscoll<br/> Pushcart Press<br/> https://www.penguinrandomhouse.ca/books/721973/twenty-stories-by-jack-driscoll/9798985469714<br/> 280 pages; Print, $27.00 <p>If you're seeking a homegrown version of Nordic noir, with snow-flecked, frigid scenery and hardbitten characters in dysfunctional relationships intent upon a desire for justice or vengeance, then forgo Stockholm or Helsinki for Northern Michigan's veteran storyteller, Jack Driscoll, and his combination of old and new work in the recently published <em>Twenty Stories</em>.</p> <p>Not that there are so many actual crimes. There is an execution, theft and trespass, and a couple who steal a horse. But the whodunit aspect of Driscoll's work is centered upon his characters' ceaseless investigation of their own lives as a crime scene. Are they victim or perp? Sometimes only one, but often both.</p> <p>As in any investigation, we enter Driscoll's stories after the event. The character in his first story is named Judge, and a first line like "Doyle Laidlow has never attended an execution" assures us there's some catching up to be done. Likewise, "here's what the guy I <em>don't</em> live with anymore said." Sometimes the titles alone steer us to the police blotter: "Death Parts," "Prowlers," or "A Woman Gone Missing."</p> <p>Early in the first story, Driscoll tells us his authorial ambition:</p> <blockquote> <p>Judge said you could measure a story by its private disclosures, by how far a person came forward to confess a part of himself asking forgiveness.</p> </blockquote> <p>In this story ("Wanting Only to be Heard"), Judge is a teenager, aided by the narrator, who decides to make a reckless swim at night between two fishing <strong>[End Page 88]</strong> holes under a frozen lake. The fact that such a venture is both obviously dangerous and foolhardy is dismissed. Yet the narrator notes:</p> <blockquote> <p>There was something principled about facts. … Maybe that's why I liked Dragnet so much. The claim that it was a true story, and that the sentence handed down after the last TV commercial was really being served.</p> </blockquote> <p>The tension in many of the stories lies between establishing the "crime" and seeking some kind of personal, rather than societal, retribution. Driscoll's characters are not short of grievances, but the crimes as such do not usually fall directly under conventional jurisprudence. The characters have been victims of parental neglect, adultery, addiction, an economic system that regards them as marginal, poor education, or just plain bad luck.</p> <p>A combination of these factors infuses a new story, "The New World Emerging," ostensibly referring to the mother's job in a hospi
{"title":"Twenty Stories by Jack Driscoll (review)","authors":"Bob Duxbury","doi":"10.1353/abr.2023.a921788","DOIUrl":"https://doi.org/10.1353/abr.2023.a921788","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Twenty Stories</em> by Jack Driscoll <!-- /html_title --></li> <li> Bob Duxbury (bio) </li> </ul> <em><small>twenty stories</small></em> Jack Driscoll<br/> Pushcart Press<br/> https://www.penguinrandomhouse.ca/books/721973/twenty-stories-by-jack-driscoll/9798985469714<br/> 280 pages; Print, $27.00 <p>If you're seeking a homegrown version of Nordic noir, with snow-flecked, frigid scenery and hardbitten characters in dysfunctional relationships intent upon a desire for justice or vengeance, then forgo Stockholm or Helsinki for Northern Michigan's veteran storyteller, Jack Driscoll, and his combination of old and new work in the recently published <em>Twenty Stories</em>.</p> <p>Not that there are so many actual crimes. There is an execution, theft and trespass, and a couple who steal a horse. But the whodunit aspect of Driscoll's work is centered upon his characters' ceaseless investigation of their own lives as a crime scene. Are they victim or perp? Sometimes only one, but often both.</p> <p>As in any investigation, we enter Driscoll's stories after the event. The character in his first story is named Judge, and a first line like \"Doyle Laidlow has never attended an execution\" assures us there's some catching up to be done. Likewise, \"here's what the guy I <em>don't</em> live with anymore said.\" Sometimes the titles alone steer us to the police blotter: \"Death Parts,\" \"Prowlers,\" or \"A Woman Gone Missing.\"</p> <p>Early in the first story, Driscoll tells us his authorial ambition:</p> <blockquote> <p>Judge said you could measure a story by its private disclosures, by how far a person came forward to confess a part of himself asking forgiveness.</p> </blockquote> <p>In this story (\"Wanting Only to be Heard\"), Judge is a teenager, aided by the narrator, who decides to make a reckless swim at night between two fishing <strong>[End Page 88]</strong> holes under a frozen lake. The fact that such a venture is both obviously dangerous and foolhardy is dismissed. Yet the narrator notes:</p> <blockquote> <p>There was something principled about facts. … Maybe that's why I liked Dragnet so much. The claim that it was a true story, and that the sentence handed down after the last TV commercial was really being served.</p> </blockquote> <p>The tension in many of the stories lies between establishing the \"crime\" and seeking some kind of personal, rather than societal, retribution. Driscoll's characters are not short of grievances, but the crimes as such do not usually fall directly under conventional jurisprudence. The characters have been victims of parental neglect, adultery, addiction, an economic system that regards them as marginal, poor education, or just plain bad luck.</p> <p>A combination of these factors infuses a new story, \"The New World Emerging,\" ostensibly referring to the mother's job in a hospi","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"6 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140116636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921784
Allan Graubard
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Illuminated Burrow</em> by Max Blecher <!-- /html_title --></li> <li> Allan Graubard (bio) </li> </ul> <em><small>the illuminated burrow</small></em> Max Blecher<br/> Translated by Gabi Reigh<br/> Twisted Spoon Press<br/> https://www.twistedspoon.com/illuminated-burrow.html<br/> 166 pages; Print, $23.00 <p>The intersection of illness and literature is a rich vein that authors have explored, I imagine, ever since we came to writing. Whatever its time and form, when the vulnerability of the body enters a narrative, the stakes intensify. We know the questions that come in response, too; we know them well enough, animating the page or those we ask straight out when faced with an illness: How did it happen? What's the diagnosis and treatment? How will this play out? What's expected of me, of us, and what's not? There's also something we share, isn't there; compassion for the afflicted and relief that we're healthy, or if ill then struggling for health, or some sense of it. And if seriously ill, when hope crashes against pain or the dulling effect of opiates, and convalescence becomes endurance—what then? <strong>[End Page 71]</strong></p> <p>One response—poignant, real, irrepressible, exquisite, caustic, and funny by turns—comes from Max Blecher. In English we have only met him recently, with the 2015 translation of his novel <em>Adventures in Immediate Irreality</em> (1936). In <em>The Illuminated Burrow</em>, the work reviewed here, illness is the cause and inspiration. There is nothing that Blecher has written that is not fed by his convalescent experience either. Tuberculosis spondylitis, or Pott disease (causing bone destruction, deformity, and paraplegia), was incurable when he wrote the book. Nonetheless, by it, but not only it, he valorized the "secret life of the body" and the intimate vision he brought to the literature he created and the world he knew. He wrote the book in bed, too, completely immobilized, the bed he died in that same year, 1938.</p> <p>Blecher was born in 1909 to bourgeois Jewish parents in Botoșani, a town in northeast Romania, and spent his school years in Roman, some fifty miles distant. After graduating, he went to study medicine in Paris. There, in 1928, symptoms appeared, and the diagnosis. He became paraplegic, though he briefly regained mobility, endured long periods in a body cast and frequent medical interventions, and was carted about in different wheelchairs and carriages. Desperate to regain his health, he spent the next decade in sanatoriums in Switzerland, France, and Romania. By 1935, with further treatment useless, his family brought him back to Roman, but this time on the outskirts. He continued writing, and corresponded with leading authors and philosophers: André Breton (who published Blecher in the journal <em>Le Surréalisme au service de la révolu
{"title":"The Illuminated Burrow by Max Blecher (review)","authors":"Allan Graubard","doi":"10.1353/abr.2023.a921784","DOIUrl":"https://doi.org/10.1353/abr.2023.a921784","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Illuminated Burrow</em> by Max Blecher <!-- /html_title --></li> <li> Allan Graubard (bio) </li> </ul> <em><small>the illuminated burrow</small></em> Max Blecher<br/> Translated by Gabi Reigh<br/> Twisted Spoon Press<br/> https://www.twistedspoon.com/illuminated-burrow.html<br/> 166 pages; Print, $23.00 <p>The intersection of illness and literature is a rich vein that authors have explored, I imagine, ever since we came to writing. Whatever its time and form, when the vulnerability of the body enters a narrative, the stakes intensify. We know the questions that come in response, too; we know them well enough, animating the page or those we ask straight out when faced with an illness: How did it happen? What's the diagnosis and treatment? How will this play out? What's expected of me, of us, and what's not? There's also something we share, isn't there; compassion for the afflicted and relief that we're healthy, or if ill then struggling for health, or some sense of it. And if seriously ill, when hope crashes against pain or the dulling effect of opiates, and convalescence becomes endurance—what then? <strong>[End Page 71]</strong></p> <p>One response—poignant, real, irrepressible, exquisite, caustic, and funny by turns—comes from Max Blecher. In English we have only met him recently, with the 2015 translation of his novel <em>Adventures in Immediate Irreality</em> (1936). In <em>The Illuminated Burrow</em>, the work reviewed here, illness is the cause and inspiration. There is nothing that Blecher has written that is not fed by his convalescent experience either. Tuberculosis spondylitis, or Pott disease (causing bone destruction, deformity, and paraplegia), was incurable when he wrote the book. Nonetheless, by it, but not only it, he valorized the \"secret life of the body\" and the intimate vision he brought to the literature he created and the world he knew. He wrote the book in bed, too, completely immobilized, the bed he died in that same year, 1938.</p> <p>Blecher was born in 1909 to bourgeois Jewish parents in Botoșani, a town in northeast Romania, and spent his school years in Roman, some fifty miles distant. After graduating, he went to study medicine in Paris. There, in 1928, symptoms appeared, and the diagnosis. He became paraplegic, though he briefly regained mobility, endured long periods in a body cast and frequent medical interventions, and was carted about in different wheelchairs and carriages. Desperate to regain his health, he spent the next decade in sanatoriums in Switzerland, France, and Romania. By 1935, with further treatment useless, his family brought him back to Roman, but this time on the outskirts. He continued writing, and corresponded with leading authors and philosophers: André Breton (who published Blecher in the journal <em>Le Surréalisme au service de la révolu","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"25 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140105549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921775
Hannah Grannemann
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Radical Friends: Decentralised Autonomous Organizations and the Arts</em> ed. by Ruth Catlow and Penny Rafferty <!-- /html_title --></li> <li> Hannah Grannemann (bio) </li> </ul> <em><small>radical friends: decentralised autonomous organizations and the arts</small></em> Edited by Ruth Catlow and Penny Rafferty<br/> Torque Editions<br/> https://torquetorque.net/publications/radical-friends/<br/> 352 pages; Print, £20.00 <p>What are decentralized autonomous organizations (DAOs) in the art world? They are "cosmic computers." They are utopian experiments: "an experimental practice for moving towards a different way of living together." They are cooperatives or collectives that "enlarge the reach of friendship to the point of replacing corporations and governments." Or they're "implicitly antisocial." DAOs will completely reinvent artists' relationships to the art market. Or they're just "shinier versions of the same shit." Or maybe they are starfish.</p> <p>I came to <em>Radical Friends: Decentralised Autonomous Organizations and the Arts</em> as a bit of an outsider; I have significant arts management experience, but I don't work in the contemporary art field. At a fundamental level, as I learned in the introduction by editors Ruth Catlow and Penny Rafferty, DAOs are organizations that exist online and are built on the blockchain. DAOs are collectively owned by their members. Decisions about the DAO itself (its governance) and its activities are voted on by the members using "smart contracts," so called because the outcomes of the smart contracts are automatically executed and cannot be changed except through votes by the membership of the DAO. This allows them to be "trustless" organizations, meaning that trust between the members is not required, because of the automaticity of the smart contracts. Beyond that, DAOs can be many different things, including artworks themselves.</p> <p>The goal of <em>Radical Friends</em> is to bring together writings by the people working with DAOs to show "how traditional organisational patterns and the power structures they serve might be transformed by the emergence of blockchain-enabled Decentralised Autonomous Organisations (DAOs) in artworlds and beyond." The traditional organizational patterns the editors and authors are referring to is how artists intersect with the international art <strong>[End Page 21]</strong> market, museums, each other, all the related funding sources, and more. Artists and arts workers often view these patterns as extractive and exploitative. The search for more equitable systems is long-standing and ongoing. The purpose of the book is not to persuade the reader that DAOs are <em>the</em> solution to the art world's problems, but instead to "support deep thinking, inspiration, praxis and prototyping."</p> <p>The problem with DAOs is t
以下是内容的简要摘录，以代替摘要：评论者： 激进的朋友：Ruth Catlow 和 Penny Rafferty 编辑 Hannah Grannemann (bio) Radical Friends: Decentralised Autonomous Organizations and the Arts Ruth Catlow 和 Penny Rafferty 编辑 Torque Editions https://torquetorque.net/publications/radical-friends/ 352 页；印刷版，20.00 英镑 什么是艺术界的分散自治组织（DAOs）？它们是 "宇宙计算机"。它们是乌托邦式的实验：它们是 "宇宙计算机"，是乌托邦式的实验："一种走向不同共同生活方式的实验性实践"。它们是合作社或集体，"扩大友谊的范围，以至于取代公司和政府"。或者说，它们是 "隐含的反社会"。DAO 将彻底重塑艺术家与艺术市场的关系。或者它们只是 "同样东西的更闪亮版本"或者它们就是海星。我来到 "激进的朋友"：我有丰富的艺术管理经验，但并不在当代艺术领域工作。从根本上说，正如我在编辑露丝-卡特洛（Ruth Catlow）和彭妮-拉弗蒂（Penny Rafferty）的介绍中了解到的，DAO是一种在线存在的组织，建立在区块链的基础上。DAO 由其成员集体所有。有关 DAO 本身（其治理）及其活动的决策由成员使用 "智能合约 "投票决定，之所以称为 "智能合约"，是因为智能合约的结果是自动执行的，除非 DAO 成员投票表决，否则无法更改。这使得它们成为 "无信任 "组织，也就是说，由于智能合约的自动性，成员之间不需要信任。除此之外，DAO 还可以是许多不同的东西，包括艺术品本身。激进之友》的目标是汇集从事DAO工作的人的著作，以展示 "在艺术世界内外出现的区块链去中心化自治组织（DAO）可能会如何改变传统的组织模式及其服务的权力结构"。编者和作者所说的传统组织模式是指艺术家如何与国际艺术 [End Page 21] 市场、博物馆、相互之间、所有相关资金来源等交织在一起。艺术家和艺术工作者通常认为这些模式具有榨取性和剥削性。人们长期以来一直在寻求更加公平的制度。本书的目的不是说服读者DAOs是解决艺术界问题的方法，而是 "支持深入思考、灵感、实践和原型设计"。DAO的问题在于，虽然它们可以成为支持这些目标的组织结构，但也可能是延续当前做法的结构。DAO本身并没有带来不同的结果。DAOs的 "无信任 "功能容易出错，因此需要高度的信任--友谊，以避免复制榨取性的做法。激进朋友》中的 DAO 仅作为实验、范例和进行中的工作来介绍。DAO 可能会改变一切，也可能什么都不会改变。"艺术家兼理论家希托-施泰尔（Hito Steyerl）问道："什么是 DAO？"没有人真正知道。原因之一是大多数可能的答案都在未来"。激进的朋友》至少在一定程度上是对 DAO 的介绍。书中用大量篇幅解释了 DAOs 的工作原理。书中提供了术语表和 DAOs 在艺术领域的发展时间表。本书还旨在记录当下创建和运行 DAO 的实践，在这个时刻，DAO 已经超越了初创阶段，但仍处于探索阶段。论文部分有来自 19 位撰稿人的 16 篇文章，内容涉及新兴概念和理念。这些文章既有支持 DAO 的论点，也有对 DAO 的质疑。本书的大多数撰稿人对 DAO 的定义和目的都有自己的看法，因此在这篇评论的开头出现了一些相互矛盾的杂乱定义。在阅读本书的过程中，对 DAO 概念的不断建构和解构使得《激进朋友》的论文部分难以把握。作者在文章中从抽象概念到对现行制度的批判，再到对全世界人民所受压迫的哀叹（包括现在和历史上的），最后到实际 DAO 的例子，不断转换，没有给读者一个达到一定水平的机会...
{"title":"Radical Friends: Decentralised Autonomous Organizations and the Arts ed. by Ruth Catlow and Penny Rafferty (review)","authors":"Hannah Grannemann","doi":"10.1353/abr.2023.a921775","DOIUrl":"https://doi.org/10.1353/abr.2023.a921775","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Radical Friends: Decentralised Autonomous Organizations and the Arts</em> ed. by Ruth Catlow and Penny Rafferty <!-- /html_title --></li> <li> Hannah Grannemann (bio) </li> </ul> <em><small>radical friends: decentralised autonomous organizations and the arts</small></em> Edited by Ruth Catlow and Penny Rafferty<br/> Torque Editions<br/> https://torquetorque.net/publications/radical-friends/<br/> 352 pages; Print, £20.00 <p>What are decentralized autonomous organizations (DAOs) in the art world? They are \"cosmic computers.\" They are utopian experiments: \"an experimental practice for moving towards a different way of living together.\" They are cooperatives or collectives that \"enlarge the reach of friendship to the point of replacing corporations and governments.\" Or they're \"implicitly antisocial.\" DAOs will completely reinvent artists' relationships to the art market. Or they're just \"shinier versions of the same shit.\" Or maybe they are starfish.</p> <p>I came to <em>Radical Friends: Decentralised Autonomous Organizations and the Arts</em> as a bit of an outsider; I have significant arts management experience, but I don't work in the contemporary art field. At a fundamental level, as I learned in the introduction by editors Ruth Catlow and Penny Rafferty, DAOs are organizations that exist online and are built on the blockchain. DAOs are collectively owned by their members. Decisions about the DAO itself (its governance) and its activities are voted on by the members using \"smart contracts,\" so called because the outcomes of the smart contracts are automatically executed and cannot be changed except through votes by the membership of the DAO. This allows them to be \"trustless\" organizations, meaning that trust between the members is not required, because of the automaticity of the smart contracts. Beyond that, DAOs can be many different things, including artworks themselves.</p> <p>The goal of <em>Radical Friends</em> is to bring together writings by the people working with DAOs to show \"how traditional organisational patterns and the power structures they serve might be transformed by the emergence of blockchain-enabled Decentralised Autonomous Organisations (DAOs) in artworlds and beyond.\" The traditional organizational patterns the editors and authors are referring to is how artists intersect with the international art <strong>[End Page 21]</strong> market, museums, each other, all the related funding sources, and more. Artists and arts workers often view these patterns as extractive and exploitative. The search for more equitable systems is long-standing and ongoing. The purpose of the book is not to persuade the reader that DAOs are <em>the</em> solution to the art world's problems, but instead to \"support deep thinking, inspiration, praxis and prototyping.\"</p> <p>The problem with DAOs is t","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"286 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140105601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921776
Terry Smith
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Culture Strike: Art and Museums in an Age of Protest</em> by Laura Raicovich <!-- /html_title --></li> <li> Terry Smith (bio) </li> </ul> <em><small>culture strike: art and museums in an age of protest</small></em> Laura Raicovich<br/> Verso<br/> https://www.versobooks.com/books/3777-culture-strike<br/> 224 pages; Print, $26.95 <p><em>Culture Strike: Art and Museums in an Age of Protest</em> begins with a vivid account of the circumstances that forced Laura Raicovich out of the directorship of the Queens Museum of Art, New York. When she took up the position in 2015 she inherited a not-for-profit art space that, under the previous director, Tom Finkelpearl, had pioneered responsiveness to local communities while remaining relevant to the wider region and to international visitors. This mission was not confined to an exhibition program known for landmarks such as <em>Global Conceptualism: Points of Origin, 1950s–1970s</em> (1999). Community organizers were appointed to the museum's staff. They worked directly with groups throughout one of the most diverse boroughs in the city, serving the various needs of those speaking 138 languages and dialects. Finkelpearl went on to pursue similar policies as commissioner of the New York Department of Cultural Affairs from 2014 to 2019.</p> <p>Seen more broadly, these initiatives were instances within the wave of reforms that had for decades been sweeping through all kinds of museums as they strove to reconcile their traditional top-down educational missions with the diversity of their massively increasing numbers of interested visitors. Progressive reforms met much resistance, most insidiously the defunding of culture by neoliberal governments at all levels. Yet what is now three generations of arts administrators have persisted with these reforms, working in concert with the mainly progressive arts practices that they so passionately support.</p> <p>In the United States in late 2016 this commitment ran up against what Raicovich rightly calls the "Pandora's box of hate" unleashed by the Trump administration's rhetoric and policies. Its multimedia storm of populist nationalism targeted immigrants, foreigners, and the local elites that welcomed them. For the Queens Museum this meant several staff members, its community program, and eventually its director. Raicovich did not hesitate to <strong>[End Page 26]</strong> commit the museum to joining the art strike called for January 10, 2017, Inauguration Day, staging a teach-in in the atrium. She posted "a re-statement of values" asserting that the museum had "a deep commitment to freedom of expression, and intentionally supports and celebrates difference and multiplicity as fundamental to our collective liberation." Specifically, the Queens Museum "advocates for art as a tool for positive social change, critical t
以下是内容的简要摘录，以代替摘要：评论者： 文化罢工：文化罢工：抗议时代的艺术与博物馆 Laura Raicovich Terry Smith (bio) 文化罢工：抗议时代的艺术与博物馆 Laura Raicovich Verso https://www.versobooks.com/books/3777-culture-strike 224 页；印刷版，26.95 美元：文化罢工：抗议时代的艺术与博物馆》开篇生动讲述了劳拉-雷科维奇被迫辞去纽约皇后区艺术博物馆馆长一职的始末。当她于2015年上任时，她继承的是一个非营利性的艺术空间，在前任馆长汤姆-芬克尔佩尔（Tom Finkelpearl）的领导下，该艺术空间率先响应当地社区的需求，同时与更广泛的地区和国际游客保持相关性。这一使命并不局限于以 "全球观念主义"（Global Conceptualism）等标志性展览而闻名的展览项目：原点，1950-1970 年代》（1999 年）等具有里程碑意义的展览项目。社区组织者被任命为博物馆的工作人员。他们直接与这座城市中最多样化的行政区之一的各个团体合作，为讲 138 种语言和方言的人们的各种需求提供服务。2014 年至 2019 年，芬克尔佩尔担任纽约文化事务部专员，继续推行类似的政策。从更广泛的角度来看，这些举措都是几十年来席卷各类博物馆的改革浪潮中的实例，因为它们都在努力调和传统的自上而下的教育使命与日益增多的感兴趣的游客的多样性。渐进式改革遇到了许多阻力，其中最阴险的是各级新自由主义政府对文化的资金削减。然而，现在已有三代艺术管理者坚持这些改革，与他们热情支持的主要是进步的艺术实践合作。2016 年末，在美国，这一承诺遭遇了雷科维奇正确地称之为特朗普政府的言论和政策所释放出的 "仇恨潘多拉盒子"。其民粹主义民族主义的多媒体风暴针对的是移民、外国人和欢迎他们的当地精英。对于皇后区博物馆来说，这意味着几名工作人员、社区项目以及最终的馆长。雷科维奇毫不犹豫地[第26页完]承诺，博物馆将加入2017年1月10日就职日的艺术罢工，在中庭举办一场教学活动。她张贴了 "价值重述"，声称博物馆 "对表达自由有着深刻的承诺，并有意支持和颂扬差异和多元性，将其视为我们集体解放的根本"。具体而言，皇后区博物馆 "倡导将艺术作为积极的社会变革、批判性思维、讨论和辩论、发现和想象力的工具，并使多重历史和现实清晰可见"，为社区服务，尊重多样性，并 "利用我们的资源--人力、财力、环境和其他资源--在我们的机构内部和更广阔的世界创造更大的公平性、包容性和可持续性"。博物馆董事会一致通过了这一声明，并支持馆长为推进这些价值观而采取的行动......直到董事会不支持为止。她建议反对以色列驻联合国代表团提出的租用博物馆举办活动的请求，因为该活动是为了重现1947年大会投票的情景--大会于1946年至1950年期间在博物馆举行会议，为1948年承认以色列国铺平了道路。最近当选的副总统迈克-彭斯（Mike Pence）被指定为主旨发言人。董事会最初认为，这显然是对博物馆的政治偏袒。社交媒体上掀起了一场反犹太主义的指责风暴，矛头主要指向雷科维奇。董事会屈服了，彭斯发表了振奋人心的政策演讲，预示着美国大使馆将从特拉维夫迁往耶路撒冷。雷科维奇被困在这场风暴中，她发现自己的地位越来越不稳固，于是于 2018 年 1 月辞职。"在我们的文化空间呼吁多样性、公平性和包容性的同时，博物馆内部也无法回避与中立这一顽固意识形态的对抗"。雷科维奇意识到，"中立 "似乎是一个奇怪的 "不祥之物"。但看看最近当国际博物馆理事会的一群成员试图扩大博物馆的定义，以体现积极的包容性时发生了什么......
{"title":"Culture Strike: Art and Museums in an Age of Protest by Laura Raicovich (review)","authors":"Terry Smith","doi":"10.1353/abr.2023.a921776","DOIUrl":"https://doi.org/10.1353/abr.2023.a921776","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Culture Strike: Art and Museums in an Age of Protest</em> by Laura Raicovich <!-- /html_title --></li> <li> Terry Smith (bio) </li> </ul> <em><small>culture strike: art and museums in an age of protest</small></em> Laura Raicovich<br/> Verso<br/> https://www.versobooks.com/books/3777-culture-strike<br/> 224 pages; Print, $26.95 <p><em>Culture Strike: Art and Museums in an Age of Protest</em> begins with a vivid account of the circumstances that forced Laura Raicovich out of the directorship of the Queens Museum of Art, New York. When she took up the position in 2015 she inherited a not-for-profit art space that, under the previous director, Tom Finkelpearl, had pioneered responsiveness to local communities while remaining relevant to the wider region and to international visitors. This mission was not confined to an exhibition program known for landmarks such as <em>Global Conceptualism: Points of Origin, 1950s–1970s</em> (1999). Community organizers were appointed to the museum's staff. They worked directly with groups throughout one of the most diverse boroughs in the city, serving the various needs of those speaking 138 languages and dialects. Finkelpearl went on to pursue similar policies as commissioner of the New York Department of Cultural Affairs from 2014 to 2019.</p> <p>Seen more broadly, these initiatives were instances within the wave of reforms that had for decades been sweeping through all kinds of museums as they strove to reconcile their traditional top-down educational missions with the diversity of their massively increasing numbers of interested visitors. Progressive reforms met much resistance, most insidiously the defunding of culture by neoliberal governments at all levels. Yet what is now three generations of arts administrators have persisted with these reforms, working in concert with the mainly progressive arts practices that they so passionately support.</p> <p>In the United States in late 2016 this commitment ran up against what Raicovich rightly calls the \"Pandora's box of hate\" unleashed by the Trump administration's rhetoric and policies. Its multimedia storm of populist nationalism targeted immigrants, foreigners, and the local elites that welcomed them. For the Queens Museum this meant several staff members, its community program, and eventually its director. Raicovich did not hesitate to <strong>[End Page 26]</strong> commit the museum to joining the art strike called for January 10, 2017, Inauguration Day, staging a teach-in in the atrium. She posted \"a re-statement of values\" asserting that the museum had \"a deep commitment to freedom of expression, and intentionally supports and celebrates difference and multiplicity as fundamental to our collective liberation.\" Specifically, the Queens Museum \"advocates for art as a tool for positive social change, critical t","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"17 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140105608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921778
Gavin Sourgen
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Art of Diremption: On the Powerlessness of Art</em> by Leonhard Emmerling <!-- /html_title --></li> <li> Gavin Sourgen (bio) </li> </ul> <em><small>the art of diremption: on the powerlessness of art</small></em> Leonhard Emmerling<br/> Translated by Parnal Chirmuley<br/> Seagull Books<br/> https://press.uchicago.edu/ucp/books/book/distributed/A/bo165272877.html<br/> 164 pages; Print, $24.50 <p>While the precise object of his discontent is never explicitly stated, Leonhard Emmerling's antipathy toward a pervasive "overburdening of art as the great redeemer"—one that has produced "an almost relentless spate of exposures and revelations, interventions and calls to participation" in the contemporary art world—seems to have in mind a growing belief in the merits of social justice art and, perhaps more damningly, those who naively assume a stable relation between intention and embodiment, conception and reception. Although he never pitches it as a dilemma, <em>The Art of Diremption</em> certainly reads as a response to one. As Emmerling sees it, the "assumption that art has a unique ability to bring truth to light" is born out of, among other things, a fundamental misunderstanding of "the dialectic of appearance and elusion" in art, and a lost sense of how this "reveals [the] truth about its dual composition as reality and appearance." In other words, by forsaking a nuanced understanding of a crucial differentiation between appearance and reality—"the key differentiation in aesthetics," as he sees it—and laboring under a misplaced burden of uncomplicated mimesis, we fail to see that art relinquishes its ontological status as art at the very moment it insists on having a clear intent and impact. When art is "semantically overdetermined," when "the modernist paradigm of the opposition between art and society that is coming apart at the seams is looked upon as no longer appropriate yet indispensable," the "discourse on art has to be pumped full with the force of the radical as a compensatory surrogate." In this way, art is "inflated by … moral fervour," and "the sweeping proclamations about art not only reek of arbitrariness" but ultimately "fail its object." Such beliefs are also, above all else, counterproductive in bolstering arguments for the value of aesthetic judgment as a means <strong>[End Page 35]</strong> of moral good because any insistence upon the moral worth of a work of art, and any attempt to measure and justify the range of its influence, is bound to produce the wrong kind of diremption: not the generative and unifying force of internal doubt and uncertainty at the heart of aesthetic engagement, but pronounced critical hostility and division.</p> <p>Emmerling sees this current overinvestment in the notion of art as a reconciler of social disparity and a deliverer of moral good to be t
以下是内容的简要摘录，以代替摘要：评论者 箝制的艺术：The Art of Diremption: On the powerlessness of art Leonhard Emmerling 翻译：Parnal Chirmuley 海鸥图书 https://press.uchicago.edu/ucp/books/book/distributed/A/bo165272877.html 164 页；印刷版，24 美元。50 虽然莱昂哈德-艾默林从未明确指出其不满的确切对象，但他对当代艺术界普遍存在的 "艺术作为伟大救赎者的过度负担 "的反感--这种反感在当代艺术界产生了 "几乎无休止的曝光和揭露、干预和呼吁参与"--似乎与那些日益相信社会正义艺术的优点的人有关，也许更可恶的是，与那些天真地假定意图与体现、构思与接受之间存在稳定关系的人有关。尽管艾默林从未将其视为一种困境，但《欲望的艺术》无疑是对这种困境的回应。在艾默林看来，"艺术具有揭示真理的独特能力 "这一 "假设 "的产生，除其他原因外，还源于对艺术中 "表象与隐喻的辩证关系 "的根本误解，以及对这种辩证关系如何 "揭示其作为现实与表象的双重构成的[]真相 "的迷失。换句话说，由于放弃了对表象与现实之间关键区别的细致入微的理解--正如他所认为的 "美学中的关键区别"--并在不复杂的模仿的错位负担下苦苦挣扎，我们看不到艺术在坚持具有明确意图和影响的那一刻就放弃了其作为艺术的本体论地位。当艺术 "在语义上被过度确定"，当 "艺术与社会之间的对立这一现代主义范式在接缝处分崩离析，被视为不再合适却又不可或缺 "时，"关于艺术的话语就必须充满激进的力量，作为一种补偿性的代用品"。这样一来，艺术就 "被......道德狂热所膨胀"，"关于艺术的一概而论不仅充满了武断的味道"，而且最终 "辜负了它的目标"。这种信念在支持审美判断作为道德善的一种手段的价值方面，首先也是适得其反的，因为任何对艺术作品的道德价值的坚持，以及任何对其影响范围进行衡量和论证的尝试，都必然会产生一种错误的判断：不是审美参与的核心--内部怀疑和不确定性--的生成和统一力量，而是明显的批判敌意和分裂。埃默林认为，目前这种过度投资于艺术作为社会差异的调和者和道德善的传递者的观念，是 "伦理转向 "的产物，是 "自尼采以来特定艺术史的最后一个可观察到的阶段 "发生的 "范式转变"，其中所有的希望都在于通过艺术获得解放。批评家和艺术家们信奉尼采的 "艺术，除了艺术别无其他 "的信念，将其视为 "生命的伟大推动者、诱惑者、刺激者"，错误地坚持认为："艺术不仅应该持有一种特定的道德观，还应该从艺术-道德的角度来判断和评论政治事件，并通过其创造的各自的星座和情境，......必须提出克服社会弊病的解决方案。"艾默林的论点基于这样的论断：尽管许多人都不遗余力地宣称艺术具有调和矛盾的特殊力量，但艺术的最大价值却在于其 "美与真脱钩 "和 "自我延续的多样化过程，在这一过程中，艺术将自身分割开来 "的 "去蔽能力"。当艺术不再显眼或奢侈地宣称自己是激进自由的场所时，当艺术放弃成为社会变革的强大媒介的愿望，转而坚持自己的自主性和主观判断的自主性时，它就确立了自己作为 "自由的政治实践 "的考虑。"艾默林认为，"艺术需要一种无权力的伦理，它拒绝影响力和权力的话语，从而促成一种艺术政治，其核心在于反思的永恒性、思想的不稳定性以及作为新事件的形式的出现"。为了实现这一点......
{"title":"The Art of Diremption: On the Powerlessness of Art by Leonhard Emmerling (review)","authors":"Gavin Sourgen","doi":"10.1353/abr.2023.a921778","DOIUrl":"https://doi.org/10.1353/abr.2023.a921778","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Art of Diremption: On the Powerlessness of Art</em> by Leonhard Emmerling <!-- /html_title --></li> <li> Gavin Sourgen (bio) </li> </ul> <em><small>the art of diremption: on the powerlessness of art</small></em> Leonhard Emmerling<br/> Translated by Parnal Chirmuley<br/> Seagull Books<br/> https://press.uchicago.edu/ucp/books/book/distributed/A/bo165272877.html<br/> 164 pages; Print, $24.50 <p>While the precise object of his discontent is never explicitly stated, Leonhard Emmerling's antipathy toward a pervasive \"overburdening of art as the great redeemer\"—one that has produced \"an almost relentless spate of exposures and revelations, interventions and calls to participation\" in the contemporary art world—seems to have in mind a growing belief in the merits of social justice art and, perhaps more damningly, those who naively assume a stable relation between intention and embodiment, conception and reception. Although he never pitches it as a dilemma, <em>The Art of Diremption</em> certainly reads as a response to one. As Emmerling sees it, the \"assumption that art has a unique ability to bring truth to light\" is born out of, among other things, a fundamental misunderstanding of \"the dialectic of appearance and elusion\" in art, and a lost sense of how this \"reveals [the] truth about its dual composition as reality and appearance.\" In other words, by forsaking a nuanced understanding of a crucial differentiation between appearance and reality—\"the key differentiation in aesthetics,\" as he sees it—and laboring under a misplaced burden of uncomplicated mimesis, we fail to see that art relinquishes its ontological status as art at the very moment it insists on having a clear intent and impact. When art is \"semantically overdetermined,\" when \"the modernist paradigm of the opposition between art and society that is coming apart at the seams is looked upon as no longer appropriate yet indispensable,\" the \"discourse on art has to be pumped full with the force of the radical as a compensatory surrogate.\" In this way, art is \"inflated by … moral fervour,\" and \"the sweeping proclamations about art not only reek of arbitrariness\" but ultimately \"fail its object.\" Such beliefs are also, above all else, counterproductive in bolstering arguments for the value of aesthetic judgment as a means <strong>[End Page 35]</strong> of moral good because any insistence upon the moral worth of a work of art, and any attempt to measure and justify the range of its influence, is bound to produce the wrong kind of diremption: not the generative and unifying force of internal doubt and uncertainty at the heart of aesthetic engagement, but pronounced critical hostility and division.</p> <p>Emmerling sees this current overinvestment in the notion of art as a reconciler of social disparity and a deliverer of moral good to be t","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"43 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140105611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921790
Robert T. Tally Jr.
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Point of View and Cognitive Mapping<span>The Case of <em>Mrs. Dalloway</em></span> <!-- /html_title --></li> <li> Robert T. Tally Jr. (bio) </li> </ul> <p>Given its cast of perambulating characters and its distinctive registration of the geography of central London, <em>Mrs. Dalloway</em> (1925) has become something of a canonical text in spatial literary studies, as students and critics have traced out the itineraries of Clarissa, Peter Walsh, or Septimus Smith, either literally—see the "Mrs. Dalloway Mapping Project" (http://mrsdallowaymappingproject.weebly.com/index.html), for example—or more informally in their own minds. The movements of the characters in the city streets, combined with the involuntary memories and subsequent reflections sparked by their peripatetic perspectives, renders a narrative that appears devoted to the experience and conception of <em>time</em> as one that is equally attuned to <em>space</em>, and in particular, the distinctive social space in which such experiences take place. Then there is the prevalence of distinctive toponyms and municipal monuments, such as Bond Street, Regent's Park, Shaftesbury Avenue, and the omnipresent Big Ben, whose tolling of the hours punctuates the novel with a portentous ringing of sonic waves and circles. These, too, give <em>Mrs. Dalloway</em> the appearance of being a sort a spatial narrative, such that we might say that a literary geography of London emerges in its pages.</p> <p>Of course, this is where I feel the need to add a properly Woolfian caveat: It is true that, when one thinks of space in relation to the novel, the first consideration is usually the depiction of specific spaces or places in the text. This is sometimes thought of as the "storyworld," the area in which the events of the novel take place. A storyworld could be entirely imaginary, such as Terry Pratchett's Discworld in his marvelous series of satirical fantasy novels, or it could closely resemble the geographical spaces of the real world, as with the gritty realism of Raymond Chandler's Los Angeles in <em>The Big Sleep</em> (1939) and other works. Or it might combine some aspects of the two, as in William Faulkner's Yoknapatawpha County, which undoubtedly resembles the real <strong>[End Page 99]</strong> Lafayette County, Mississippi, but which has developed its own mythic history over the course of Faulkner's writings once populated with Compsons, Bundrens, and Snopeses. The basic geography and distinctive places in a novel are powerfully effective in orienting the reader and establishing the setting of the fictional world.</p> <p>But, then, no matter how much a given storyworld makes reference to places in the so-called real world, the spaces of a novel are necessarily <em>imaginary</em> by virtue of being part of that fictional universe. As Woolf herself observed in her 1905 essay, "Lit
以下是内容的简要摘录，以代替摘要： 达洛维夫人的案例》（Point of View and Cognitive MappingThe Case of Mrs.达洛崴夫人》（1925 年）已成为空间文学研究领域的经典文本，学生和评论家们通过字面--参见 "达洛崴夫人绘图项目"(http://mrsdallowaymappingproject.weebly.com/index.html)--或在自己的脑海中非正式地追踪克拉丽莎、彼得-沃尔什或塞普蒂默斯-史密斯的行程。人物在城市街道上的移动，再加上他们游移不定的视角所引发的不由自主的回忆和随后的反思，使得这部看似专注于时间体验和时间概念的叙事同样关注空间，尤其是发生这种体验的独特的社会空间。此外，小说中还出现了许多独特的地名和市政纪念碑，如邦德街、摄政公园、沙夫茨伯里大道，以及无处不在的大本钟。这些也让《达洛维夫人》看起来像是一种空间叙事，因此我们可以说，小说中出现了伦敦的文学地理。当然，在这里我觉得有必要补充一点伍尔夫式的注意事项：的确，当人们把空间与小说联系起来思考时，首先考虑的通常是文本中对特定空间或地点的描写。这有时被认为是 "故事世界"，即小说事件发生的区域。故事世界可以完全是想象出来的，比如特里-普拉切特（Terry Pratchett）的《碟形世界》（Discworld）中的讽刺奇幻小说系列，也可以与现实世界的地理空间非常相似，比如雷蒙德-钱德勒（Raymond Chandler）在《大沉睡》（The Big Sleep，1939 年）和其他作品中描写的洛杉矶的残酷现实主义。或者，它可能结合了两者的某些方面，就像威廉-福克纳的《约克纳帕塔法县》（Yoknapatawpha County），该县无疑与真实的密西西比州拉斐特县[第99页完]相似，但在福克纳的写作过程中，该县形成了自己的神话历史，曾经居住着康普逊、邦德伦和斯诺普斯。小说中的基本地理环境和独特的地方对于确定读者的方向和小说世界的背景非常有效。但是，无论特定的故事世界如何参照所谓的现实世界中的地点，小说中的空间必然是虚构的，因为它们是虚构世界的一部分。正如伍尔夫本人在其 1905 年发表的论文《文学地理学》（该跨学科领域的奠基文本之一）中所指出的那样："作家的祖国是他自己大脑中的一块领地；如果我们试图将这些幽灵般的城市变成有形的砖瓦，我们就会冒着幻灭的风险。......没有哪座城市像我们为自己和自己喜欢的人创造的这座城市一样真实；坚持认为它与地球上的城市有任何对应之处，就等于剥夺了它一半的魅力。 在这里，伍尔夫坚持认为，故事世界与现实世界保持着自身的独立性，读者是在想象的空间中遭遇这一地理环境的。因此，从某种意义上说，小说中的 "真实 "伦敦变成了一个梦幻般的地方，也许还算不上纳尼亚，但也不完全是今年温布尔登网球赛的举办地。查尔斯-狄更斯在《圣诞颂歌》（1843 年）中描写的伦敦既是狄更斯本人生活的伦敦，也不是他本人生活的伦敦。狄更斯把伦敦变成了埃比尼泽-斯古治、鲍勃-克拉奇特和小蒂姆等虚构人物居住的地方，更不用说像 "过去、现在和未来的圣诞鬼魂 "这样的超自然生物了。正如切斯特顿（G. K. Chesterton）所说，这体现了 "狄更斯处处采用的那种精灵般的现实主义"。在某些方面，小说作品中的地点与现实世界中的地点显然并不 "相同"。小说中的地点和人物都是真实的。
{"title":"Point of View and Cognitive Mapping: The Case of Mrs. Dalloway","authors":"Robert T. Tally Jr.","doi":"10.1353/abr.2023.a921790","DOIUrl":"https://doi.org/10.1353/abr.2023.a921790","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Point of View and Cognitive Mapping<span>The Case of <em>Mrs. Dalloway</em></span> <!-- /html_title --></li> <li> Robert T. Tally Jr. (bio) </li> </ul> <p>Given its cast of perambulating characters and its distinctive registration of the geography of central London, <em>Mrs. Dalloway</em> (1925) has become something of a canonical text in spatial literary studies, as students and critics have traced out the itineraries of Clarissa, Peter Walsh, or Septimus Smith, either literally—see the \"Mrs. Dalloway Mapping Project\" (http://mrsdallowaymappingproject.weebly.com/index.html), for example—or more informally in their own minds. The movements of the characters in the city streets, combined with the involuntary memories and subsequent reflections sparked by their peripatetic perspectives, renders a narrative that appears devoted to the experience and conception of <em>time</em> as one that is equally attuned to <em>space</em>, and in particular, the distinctive social space in which such experiences take place. Then there is the prevalence of distinctive toponyms and municipal monuments, such as Bond Street, Regent's Park, Shaftesbury Avenue, and the omnipresent Big Ben, whose tolling of the hours punctuates the novel with a portentous ringing of sonic waves and circles. These, too, give <em>Mrs. Dalloway</em> the appearance of being a sort a spatial narrative, such that we might say that a literary geography of London emerges in its pages.</p> <p>Of course, this is where I feel the need to add a properly Woolfian caveat: It is true that, when one thinks of space in relation to the novel, the first consideration is usually the depiction of specific spaces or places in the text. This is sometimes thought of as the \"storyworld,\" the area in which the events of the novel take place. A storyworld could be entirely imaginary, such as Terry Pratchett's Discworld in his marvelous series of satirical fantasy novels, or it could closely resemble the geographical spaces of the real world, as with the gritty realism of Raymond Chandler's Los Angeles in <em>The Big Sleep</em> (1939) and other works. Or it might combine some aspects of the two, as in William Faulkner's Yoknapatawpha County, which undoubtedly resembles the real <strong>[End Page 99]</strong> Lafayette County, Mississippi, but which has developed its own mythic history over the course of Faulkner's writings once populated with Compsons, Bundrens, and Snopeses. The basic geography and distinctive places in a novel are powerfully effective in orienting the reader and establishing the setting of the fictional world.</p> <p>But, then, no matter how much a given storyworld makes reference to places in the so-called real world, the spaces of a novel are necessarily <em>imaginary</em> by virtue of being part of that fictional universe. As Woolf herself observed in her 1905 essay, \"Lit","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"24 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140116304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921792
Michael Joyce
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Foundlings: Found Poems from Prose</em> by DeWitt Henry <!-- /html_title --></li> <li> Michael Joyce (bio) </li> </ul> <em><small>foundlings: found poems from prose</small></em> DeWitt Henry<br/> Gazebo Books<br/> https://gazebobooks.com.au/product/foundlings/<br/> 142 pages; Print, $20.00 <p>In Wallace Stevens's long poem "The Comedian as the Letter C," his perhaps comic, vaguely semi-autobiographical character, the poet and "introspective voyager" Crispin, sails from "Bordeaux to Yucatan, Havana next, / And then to," well, (North) Carolina, where, having seen "how much / Of what he saw he never saw at all," Crispin</p> <blockquote> <p><span> gripped more closely the essential prose</span><span>As being, in a world so falsified,</span><span>The one integrity for him, the one</span><span>Discovery still possible to make,</span><span>To which all poems were incident, unless</span><span>That prose should wear a poem's guise at last.</span></p> </blockquote> <p>In his extraordinary career, DeWitt Henry has come to see much of what without him—as essayist, fiction writer, professor, founding editor of <em>Ploughshares</em>, and now in this first book of poems, <em>Foundlings</em>—we might not have come upon elsewise. Here, prose indeed morphs to "wear a poem's guise" as Henry crafts discoveries of integrity and grace from well-known (even beloved) prose, found poems that seem not merely (co)incident but immanent. In the process he charts new channels to sail among the straits of what we think we know after a century at least of found poetry from Blaise Cendrars to Annie Dillard to Mary Rueffle.</p> <p>A found poem must hew, perhaps not obviously, to constraints and procedures <strong>[End Page 111]</strong> not unlike those of Oulipo. The first being that the would-be poet—the "finder"—must actively <em>find</em> in the often overlooked quotidian of familiar texts a "new" text whose sound and sense (to use traditional, if not outmoded, literary terms) are the overlooked (and/or unsounded) <em>here</em> in <u>there</u>.</p> <p>Geoff Bouvier's 2016 essay on the prose poem as a "more rigorous text" offers an exercise for teasing out whether "breaking our prose sentences into poetic lines as a temporary editing gesture [might] help to strengthen those sentences … reconstituted as prose." His example takes "a block of simple prose writing," a weather report "lifted purely at random from a national news source," and "look[s] at the same prose in a completely different typographical arrangement … to see what this prose needs to make it more visual and aural, more charged, more intense, more 'poetic.'"</p> <p>In his "Author's Note," Henry expands upon this basic constraint of both verbal and visual designing as a process of finding "how lines became verses and verses became stanzas; how blank spaces or 'sile
以下是内容的简要摘录，以代替摘要：评论者： Foundlings：德威特-亨利散文中的发现之诗》（Foundlings: Found Poems from Prose），作者：迈克尔-乔伊斯（Michael Joyce）（简历） 德威特-亨利散文中的发现之诗》（Foundlings: Found Poems from Prose），Gazebo Books https://gazebobooks.com.au/product/foundlings/，142 页；印刷版，20 美元。00 在华莱士-史蒂文斯（Wallace Stevens）的长诗《作为字母 C 的喜剧演员》（The Comedian as the Letter C）中，他笔下或许具有喜剧色彩、隐约带有半自传性质的人物--诗人兼 "内省的航海家 "克里斯平--从 "波尔多航行到尤卡坦半岛，接下来是哈瓦那，/然后到"（北）卡罗莱纳，在那里、在那里，克里斯平看到了 "他所看到的/他根本没有看到的东西"，他更紧密地抓住了散文的本质，因为在这个如此虚假的世界里，散文对他来说是唯一的完整，唯一仍有可能实现的发现，所有的诗歌都是散文的附带品，除非散文最终披上诗歌的外衣。 德威特-亨利在他非凡的职业生涯中，看到了许多没有他可能不会看到的东西--散文家、小说家、教授、《犁铧》创刊编辑，以及现在这本首部诗集《铸造者》。在这本诗集中，散文的确 "披上了诗的外衣"，亨利从众所周知（甚至是挚爱）的散文中发掘出正直、优雅的诗歌，这些诗歌似乎不仅仅是（共同）事件，而且是内在的。在这一过程中，他在我们自以为了解的海峡中开辟了新的航道，从布莱斯-桑德拉斯（Blaise Cendrars）到安妮-迪拉德（Annie Dillard）再到玛丽-鲁弗尔（Mary Rueffle），我们至少了解了一个世纪的发现诗歌。一首发现的诗歌必须遵守（也许并不明显）与乌利勃（Oulipo）不一样的限制和程序 [第111页完]。首先，诗人--"发现者"--必须积极地在经常被忽视的熟悉文本的日常事务中找到一个 "新 "文本，其声音和意义（使用传统的，如果不是过时的文学术语的话）是在这里被忽视的（和/或没有根据的）。杰夫-布维尔（Geoff Bouvier）在2016年发表的一篇关于散文诗作为 "更严谨文本 "的文章中，提供了一个练习，以探讨 "作为一种临时的编辑姿态，将我们的散文句子拆分成诗行，是否[可能]有助于加强这些句子......重组为散文"。他举例说明了 "一段简单的散文写作"，即 "纯粹从国家新闻来源中随意摘录的 "天气报告，并 "以完全不同的排版安排来审视同样的散文......看看这篇散文需要什么来使其更具视觉和听觉效果，更有感染力，更有张力，更'诗意'"。在 "作者说明 "中，亨利将这一语言和视觉设计的基本约束扩展为一个过程，即寻找 "诗行如何变成诗句，诗句如何变成诗节；空白或'沉默'如何像绘画或摄影的框架一样发挥作用；标点符号、节拍、重音和停顿如何产生强调和声音"。"这一切都很好（对某些发现的诗而言，非常好）。然而，另一套制约因素则关系到（向不思悔改的新批评家们道歉）诗人寻找诗歌的意图。在他的示例练习中，布维尔为有志成为诗人的人提供了回旋余地，可以说是一套机智的反约束条件（尽管我们认为真正的奥利匹亚人不会避免将先前的约束条件视为加倍而非取消）。Bouvier 在谈到天气预报时写道："让我们在每个句子中增加一点描述，""改一两个词。另外，一点轻浮的感觉可能会平衡严肃的气氛，产生一种平衡感，给人......一种诗意的整体感"。亨利并没有加入轻浮的成分，而是一心想要制定真正的约束，搅动原有的字母汤，让其中潜藏的诗歌、弃儿透明地浮上来。亨利在 "作者说明 "中写道："我制定了规则，"并列举了七条规则。按理说，评论家或许应该阅读原著。我承认自己没有这样做，部分原因是编辑的最后期限和亨利的规则 1 "无论原文多么著名，都不要假定我的读者会熟悉它"。事实上，[第112页完]虽然我和亨利是同时代的人，从事的职业也差不多，但我读的书根本没有他多。尽管如此，原著的作者......
{"title":"Foundlings: Found Poems from Prose by DeWitt Henry (review)","authors":"Michael Joyce","doi":"10.1353/abr.2023.a921792","DOIUrl":"https://doi.org/10.1353/abr.2023.a921792","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Foundlings: Found Poems from Prose</em> by DeWitt Henry <!-- /html_title --></li> <li> Michael Joyce (bio) </li> </ul> <em><small>foundlings: found poems from prose</small></em> DeWitt Henry<br/> Gazebo Books<br/> https://gazebobooks.com.au/product/foundlings/<br/> 142 pages; Print, $20.00 <p>In Wallace Stevens's long poem \"The Comedian as the Letter C,\" his perhaps comic, vaguely semi-autobiographical character, the poet and \"introspective voyager\" Crispin, sails from \"Bordeaux to Yucatan, Havana next, / And then to,\" well, (North) Carolina, where, having seen \"how much / Of what he saw he never saw at all,\" Crispin</p> <blockquote> <p><span> gripped more closely the essential prose</span><span>As being, in a world so falsified,</span><span>The one integrity for him, the one</span><span>Discovery still possible to make,</span><span>To which all poems were incident, unless</span><span>That prose should wear a poem's guise at last.</span></p> </blockquote> <p>In his extraordinary career, DeWitt Henry has come to see much of what without him—as essayist, fiction writer, professor, founding editor of <em>Ploughshares</em>, and now in this first book of poems, <em>Foundlings</em>—we might not have come upon elsewise. Here, prose indeed morphs to \"wear a poem's guise\" as Henry crafts discoveries of integrity and grace from well-known (even beloved) prose, found poems that seem not merely (co)incident but immanent. In the process he charts new channels to sail among the straits of what we think we know after a century at least of found poetry from Blaise Cendrars to Annie Dillard to Mary Rueffle.</p> <p>A found poem must hew, perhaps not obviously, to constraints and procedures <strong>[End Page 111]</strong> not unlike those of Oulipo. The first being that the would-be poet—the \"finder\"—must actively <em>find</em> in the often overlooked quotidian of familiar texts a \"new\" text whose sound and sense (to use traditional, if not outmoded, literary terms) are the overlooked (and/or unsounded) <em>here</em> in <u>there</u>.</p> <p>Geoff Bouvier's 2016 essay on the prose poem as a \"more rigorous text\" offers an exercise for teasing out whether \"breaking our prose sentences into poetic lines as a temporary editing gesture [might] help to strengthen those sentences … reconstituted as prose.\" His example takes \"a block of simple prose writing,\" a weather report \"lifted purely at random from a national news source,\" and \"look[s] at the same prose in a completely different typographical arrangement … to see what this prose needs to make it more visual and aural, more charged, more intense, more 'poetic.'\"</p> <p>In his \"Author's Note,\" Henry expands upon this basic constraint of both verbal and visual designing as a process of finding \"how lines became verses and verses became stanzas; how blank spaces or 'sile","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"55 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140116534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921794
Patricia Laurence
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Place Where Grief Begins</em> by Christopher Hirschmann Brandt <!-- /html_title --></li> <li> Patricia Laurence (bio) </li> </ul> <em><small>the place where grief begins</small></em> Christopher Hirschmann Brandt<br/> Tebot Bach<br/> https://www.spdbooks.org/Products/9781939678928/the-place-where-grief-begins.aspx<br/> 65 pages; Print, $17.00 <p><em>The Place Where Grief Begins</em> is a collection of poems in memory of Barbara Vann, the founder of the wonderful Medicine Show Theater and other Maine and New York companies. Christopher Brandt worked with Vann for forty-three years, joining the company in 1973 and serving in different capacities from administrator to set designer and builder to writer to actor. After Vann's death in 2015, he managed the company until its closing in 2020.</p> <p>The heartfelt, poignant poems of friendship and love in this volume—elegies—are tributes to Vann's "genius," her beauty, their love, and her teaching; importantly, they attest to the continued "presence" of Vann's absence. Brandt writes:</p> <blockquote> <p><span>I know now how it was with Orpheus</span><span>Though I lack his lyre</span><span>I would strip my spirit naked</span><span>Before the god of death to beg her back.</span></p> </blockquote> <p>He asserts in the title poem, "The Place Where Grief Begins," that</p> <blockquote> <p><span>that place</span><span>is no place</span><span>for tears</span></p> </blockquote> <p>The poems evolve through various stages of love, death, and grief. There is sensual celebration, as the speaker says she is "burned" into his flesh. In "Goddesses" he celebrates "touch":</p> <blockquote> <p><span>Hold me holding you, for it is but in touch</span><span>of flesh on flesh, in smell and taste, <strong>[End Page 119]</strong></span> <span>in fleeting things, in all that is put out</span><span>by death, that we can ride the sky like gods.</span></p> </blockquote> <p>He recounts everyday pleasures during her illness in "Putting on Your Socks":</p> <blockquote> <p><span>will they fit? They do, a treat. Your</span><span>warm tee shirt</span></p> </blockquote> <p>But then, in the grip of death,</p> <blockquote> <p><span>My love grows too weak to stand up</span><span>By herself …</span><span>. . . . . . . . . . . . . . . . . . . . . . . . . .</span><span>Later I hold her under her shoulders</span><span>And lift her up. She is heavy already</span><span>With death, though neither of us</span><span>Speaks the words.</span></p> </blockquote> <p>We read of the denial of death as the speaker cries,</p> <blockquote> <p><span>No! I will not let him take you.</span><span>But suddenly I'm holding only bones.</span></p> </blockquote> <p>There is an honesty in these sensuous poems, as Brandt holds onto his love as long as he can but admits to repulsion in "The Smell":</p> <blockquote> <p
{"title":"The Place Where Grief Begins by Christopher Hirschmann Brandt (review)","authors":"Patricia Laurence","doi":"10.1353/abr.2023.a921794","DOIUrl":"https://doi.org/10.1353/abr.2023.a921794","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Place Where Grief Begins</em> by Christopher Hirschmann Brandt <!-- /html_title --></li> <li> Patricia Laurence (bio) </li> </ul> <em><small>the place where grief begins</small></em> Christopher Hirschmann Brandt<br/> Tebot Bach<br/> https://www.spdbooks.org/Products/9781939678928/the-place-where-grief-begins.aspx<br/> 65 pages; Print, $17.00 <p><em>The Place Where Grief Begins</em> is a collection of poems in memory of Barbara Vann, the founder of the wonderful Medicine Show Theater and other Maine and New York companies. Christopher Brandt worked with Vann for forty-three years, joining the company in 1973 and serving in different capacities from administrator to set designer and builder to writer to actor. After Vann's death in 2015, he managed the company until its closing in 2020.</p> <p>The heartfelt, poignant poems of friendship and love in this volume—elegies—are tributes to Vann's \"genius,\" her beauty, their love, and her teaching; importantly, they attest to the continued \"presence\" of Vann's absence. Brandt writes:</p> <blockquote> <p><span>I know now how it was with Orpheus</span><span>Though I lack his lyre</span><span>I would strip my spirit naked</span><span>Before the god of death to beg her back.</span></p> </blockquote> <p>He asserts in the title poem, \"The Place Where Grief Begins,\" that</p> <blockquote> <p><span>that place</span><span>is no place</span><span>for tears</span></p> </blockquote> <p>The poems evolve through various stages of love, death, and grief. There is sensual celebration, as the speaker says she is \"burned\" into his flesh. In \"Goddesses\" he celebrates \"touch\":</p> <blockquote> <p><span>Hold me holding you, for it is but in touch</span><span>of flesh on flesh, in smell and taste, <strong>[End Page 119]</strong></span> <span>in fleeting things, in all that is put out</span><span>by death, that we can ride the sky like gods.</span></p> </blockquote> <p>He recounts everyday pleasures during her illness in \"Putting on Your Socks\":</p> <blockquote> <p><span>will they fit? They do, a treat. Your</span><span>warm tee shirt</span></p> </blockquote> <p>But then, in the grip of death,</p> <blockquote> <p><span>My love grows too weak to stand up</span><span>By herself …</span><span>. . . . . . . . . . . . . . . . . . . . . . . . . .</span><span>Later I hold her under her shoulders</span><span>And lift her up. She is heavy already</span><span>With death, though neither of us</span><span>Speaks the words.</span></p> </blockquote> <p>We read of the denial of death as the speaker cries,</p> <blockquote> <p><span>No! I will not let him take you.</span><span>But suddenly I'm holding only bones.</span></p> </blockquote> <p>There is an honesty in these sensuous poems, as Brandt holds onto his love as long as he can but admits to repulsion in \"The Smell\":</p> <blockquote> <p","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"15 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140116787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-12DOI: 10.1353/abr.2023.a921803
Josh Polinard
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Melancholia of Class: A Manifesto for the Working Class</em> by Cynthia Cruz <!-- /html_title --></li> <li> Josh Polinard (bio) </li> </ul> <em><small>the melancholia of class: a manifesto for the working class</small></em> Cynthia Cruz<br/> Repeater<br/> https://repeaterbooks.com/product/the-melancholia-of-class-a-manifesto-for-the-working-class/<br/> 228 pages; Print, $14.95 <p>Robin DiAngelo's bestseller <em>White Fragility: Why It's So Hard for White People to Talk about Racism</em> (2018) opens with a quote by Charles Baudelaire, arguably most known nowadays as a popular line from the 1995 film <em>The Usual Suspects</em>: "The greatest trick the devil ever pulled was convincing the world he didn't exist." The allusion implies that the most effective means of addressing white supremacy in the US is to first regard it as an insidious, silent oppressor, lurking in the shadows of a clandestine, all-but-completely-disavowed white privilege rather than solely as a signifier for pointy white hats and swastika-clad purveyors of amphetamines.</p> <p>Cynthia Cruz's <em>The Melancholia of Class: A Manifesto for the Working Class</em> cautions us of a similar form of disavowal—one that secures the advantage of the ruling class by insisting there simply <em>is no</em> working class in the United States. As Cruz states in chapter 3, "Neoliberalism's message … states vehemently that we are all born with the same privileges, that we all have the same advantages, and that those who do not succeed have only their own ineptitude and/or laziness to blame."</p> <p>Although the bulk of Cruz's manifesto outlines the trajectory of other working-class artists' fulfillment of the rags-to-riches myth—albeit in a manner that calls the <em>fulfillment</em> part into question—it is the close examinations of her own struggle as a working-class author that are perhaps the most poignant. As she states in the previously mentioned chapter: <strong>[End Page 162]</strong></p> <blockquote> <p>When during my two years in the [MFA writing program] I was told repeatedly by my classmates and my professors that my poems made no sense, I felt ashamed and assumed, automatically, that they were right. As a result, I deleted large portions of my writing. It took me decades to recognize that the very things I was erasing in my writing were class-based, which is to say that what my classmates and teachers were unable to comprehend was my worldview. When I am told to make my work more "clear," what I am actually being told is to make my writing adhere to a certain cultural aesthetic, which is formed and determined by middle-class writers and editors … assimilating into the literary elite is the payoff.</p> </blockquote> <p>What Cruz shares here speaks to the melancholia referred to in the title of the book, which Freud, in his essay "
以下是内容的简要摘录，以代替摘要：评论者 阶级的忧郁症：辛西娅-克鲁兹（Cynthia Cruz）著，乔希-波利纳德（Josh Polinard）（简历）：《阶级的忧郁：工人阶级的宣言》（The Melancholia of Class: A Manifesto for the Working Class），辛西娅-克鲁兹（Cynthia Cruz）著，复读机 https://repeaterbooks.com/product/the-melancholia-of-class-a-manifesto-for-the-working-class/，228 页；印刷版，14.95 美元 罗宾-迪安吉洛（Robin DiAngelo）的畅销书《白色的脆弱：为什么白人很难谈论种族主义》（2018 年）以查尔斯-波德莱尔（Charles Baudelaire）的一句名言开篇，这句名言如今最广为人知的可能是 1995 年电影《惯犯》（The Usual Suspects）中的一句流行台词："魔鬼最大的诡计就是让世人相信他并不存在"。这个典故暗示，要解决美国的白人至上主义问题，最有效的方法是首先将其视为一个阴险、沉默的压迫者，潜伏在一个秘密的、几乎被完全否认的白人特权的阴影中，而不仅仅是尖尖的白帽子和戴着纳粹标志的安非他明的传播者。辛西娅-克鲁兹（Cynthia Cruz）的《阶级的忧郁症》（The Melancholia of Class：工人阶级的宣言》告诫我们要警惕一种类似的否认形式--通过坚称美国根本不存在工人阶级来确保统治阶级的优势。正如克鲁兹在第3章中所说，"新自由主义的信息......激烈地指出，我们生来就拥有同样的特权，我们都有同样的优势，那些没有成功的人只能怪自己无能和/或懒惰"。尽管克鲁兹宣言的大部分内容都概述了其他工人阶级艺术家实现 "白手起家 "神话的轨迹--尽管她对实现神话的部分提出了质疑--但她对自己作为工人阶级作家的奋斗历程的仔细审视或许才是最令人感慨的。正如她在前面提到的章节中所说的那样：在[艺术硕士写作课程]的两年里，我的同学和教授一再告诉我，我的诗毫无意义，我感到羞愧，并自动认为他们是对的。结果，我删掉了自己的大部分作品。几十年后，我才意识到，我在写作中删除的东西都是以阶级为基础的，也就是说，我的同学和老师无法理解的是我的世界观。当我被告知要让我的作品更 "清晰 "时，我实际上被告知的是要让我的写作符合某种文化审美，而这种审美是由中产阶级作家和编辑形成和决定的......融入文学精英阶层是一种回报。 克鲁兹在此分享的内容与书名中提到的忧郁症不谋而合，弗洛伊德在《哀悼与忧郁症》一文中将忧郁症解释为 "精神上以极度痛苦的抑郁为特征......抑制任何形式的表现，自我意识降低，表现为自我谴责和自我侮辱，加剧为对惩罚的妄想期待"。克鲁兹对艾米-怀恩豪斯（Amy Winehouse）和克里斯托弗-莫利纳（Christopher Molina）等艺术家的研究，进一步勾勒出工人阶级艺术家的衰落，他们大多从未从这种忧郁症的上述影响中恢复过来。这些研究不仅揭示了他们各自衰落的模式，也揭示了 "功成名就 "神话结构的裂痕。除了作为回忆录和宣言的功能之外，《阶级的忧郁症》还是一本有用的指南，可用于评估据称旨在引起社会变革的作品的真实性。例如，克鲁兹在评价芭芭拉-洛登的电影《旺达》（1971 年）时，将洛登作品的真实一面与那些通过主流电影业把关人审查的电影中普遍存在的 "油滑 "属性进行了对比。 华而不实意味着对[中产阶级]文化的无缝同化和顺应。它还暗示艺术家自己也变得华而不实；她放弃了自己的本来面目，转而塑造一个光鲜亮丽、另类的自己。洛登对真实的坚持体现在很多方面。例如，影片中只有两名演员，而且是在一台...
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