There is a third sort of hedge that classic prose omits, which we will call hedges of worth. The classic writer spends no time justifying her project. The classic writer does not compare its worth to the worth of other projects. A classic writer will write about milk, for example, with no indication that there can be a question about the worth of writing about milk, no indication that the reader could entertain any doubt about the worth of writing about milk.
From Clear and Simple as the Truth by Francis-Noel Thomas and Mark Turner.
My latest column at Asymptote Journal‘s blog is now available for public consumption. It concerns a new, unexpurgated translation of Definitely Maybe, or A Billion Years Before the End of the World, a science fiction satire of late Soviet Union intellectual life. Written in the early seventies by the powerhouse team of Arkady and Boris Strugatksy, it poses the question: what would you do if all human progress came to a halt? As they say on the Internet, what happens next will surprise you.
My review of the Austrian experimental writer and all around polymath Gert Jonke is viewable now at Asymptote Journal blog. For those interested in literature in general and translated literature in particular, Asymptote is wonderful, new-ish online magazine which has already racked up an impressive list of contributors, César Aira, Herta Müller, László Krasznahorkai among many others.
“Nebensonne“. Licensed under Public domain via Wikimedia Commons.
I listen and the voice is of a world collapsing endlessly, a frozen world, under a faint untroubled sky, enough to see by, yes, and frozen too. And I hear it murmur that all wilts and yields, as if loaded down, but here there are no loads, and the ground too, unfit for loads, and the light too, down towards an end it seems can never come. For what possible end to these wastes where true light never was, nor any upright thing, nor any true foundation, but only these leaning things, forever lapsing and crumbling away, beneath a sky without memory of morning or hope of night. These things, what things, come from where, made of what? And it says that here nothing stirs, has ever stirred, will ever stir, except myself, who do not sir either, when I am there, but see and am seen.
From Molloy by Samuel Beckett
Answer by Matthew Spencer:
On a practical basis, it makes travel and expat life a lot easier. Of course, not everyone can speak the language. But in Europe, it’s rare to meet people without at least some knowledge of English. Running errands, speaking with colleagues, dealing with bureaucracy, all of those things come easier.
As for its worldwide adoption, I don’t feel any particular pride in that. Nowadays, English is often used outside of any specific Anglo-American context. Poles talking to Hungarians, Italians talking to Chinese, that kind of thing. It has little to do with any kind of broad acceptance of American or British culture.
There are downsides to global English adoption. The hardest for me is that I love learning other languages and would prefer the opportunity to speak them over a German, Swede, or Korean, for example, switching to English.
Lack of English can make for a more rich traveling experience. French and Italians have a reputation for cultural chauvinism, but I enjoy how many of them are reluctant to converse in English. They usually appreciate my trying to speak their language and it gives positive reinforcement for learning it.
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OOIOO has just released Gamel, the 7th album by this longstanding Japanese art rock band. As the title suggests, Indonesian music provided much of the inspiration for this recent set of songs. You can hear the resonant tones of Gamelan bells throughout “Atatawa” and “Jesso Testa”
Back in 2009, I reviewed their last album Amorica Hewa, another stellar collection of songs informed by a wide variety of Asian and African folk music styles.
Right now, the band is in the midst of a small US-Canadian tour. Those in the Northeast and Midwest should make the effort to see them. OOIOO ranks among the most captivating and technically proficient live acts ever I’ve seen. They possess an uncanny ability to translate the intricate, layered recorded versions of their songs onto the stage with astonishing fidelity.
Band leader Yoshimi P-We began her career as a drummer for Boredoms in the 1980s. Her skills as a percussionist and trumpet player led that band’s transition from noise rock provocateurs to their current configuration as a kind of transcendental drum-circle art happening.
Most Americans know of her as the inspiration behind the Flaming Lips song and album, Yoshimi Battles the Pink Robots—not a bad example of one artist tipping their hat to another, but one since become a cliché in reviews of her work with Boredoms, OOIOO and many others.
A current interview with Yoshimi can be read at Impose Magazine
Answer by Matthew Spencer:
Winterkill by Craig Leslie. The protagonist is Danny Kachiah, a Nez Perce rodeo clown living on a reservation in the Pacific Northwest. The story follows Danny as he confronts a declining career and family traumas after taking custody young son, whose mother has died in a car accent.
To be honest, I don’t remember much about the book. Like a lot of students growing up in Oregon and Washington during the 90s and 2000s, I read it as part of the English curriculum in high school. From what I recall, the prose was well crafted but the pacing slow. The flashbacks felt contrived.
But if you’re reading strictly for the subject matter, you should give Winterkill a try. The bits about rodeo life struck me as being quite realistic, and they were by far the most interesting sections of the novel.
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