Quote on Laziness by Alfred E. Neuman (from Mad Magazine)

In this post, I present a quote on laziness by the king of satire himself Alfred E. Neuman.

"Most people are so lazy, they don't even exercise good judgement!" 

— Alfred E. Neuman

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Aesthetic Thursday: Two Handsome Models Read Books Together

Two models seated side by side read books in silence. Ain't that amazing?!

Charlie France, Models Reading

The model on the left is reading a Terry Pratchett novel Pyramids but I cannot make out the title of the book the model on the right is reading, but I am positive this photograph is not intended for a public library's reading advocacy program. It's pretty boys reading. And I am totally fine with that arrangement.

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What Happens When I Read Novels (Inspired by Reading and Proust and Freud)

When I read novels I do not see images when I read. 
I may see an image emerge in my mind’s eye after the reading has been done, but during the reading itself, I read in black and white without images. I've been reading selections from Proust's Swann's Way. What I conjure in my mind's eye of Marcel dipping a madeleine cake into a cup of tea anticipate images. Novels do not generate images. They anticipate.

Reading Novels is a Similar Cognitive Experience to What We do When Dream
What we do when we read novels is similar to what happens to us when we dream. Freud calls the dream image a rebus (p. 276); in this way, I think he is correct. If there is an image in the novel it is more akin to a rebus, a hallucination of loosely strung together spectral thoughts. 

Free Association of the Imagination When Reading Novels
We free associate when we read a novel; what comes before our mind’s eye are parts and pieces that do not form an entirely thought together whole. In the novel's image, like the dream, parts stand for wholes. Novels are constituted by their love for particularities. Epics and grand eloquent drama are the stuff of another art form; they form archetypical images. Novels are a unique art form in that they work similarly to the way our minds work. 

In the Novel-form the Individual is Privileged 
Novels arose as the predominant art form because they privilege individual experience over grand narrative; the mundane and the banal are championed in the novel over the hero trope and archetype. It is not the photographic image that is desired in the novel, but rather, what we see in the novel is the recognition that the mirror is broken; we see in the novel a skewed mirror and we call it real.

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Books I Remember Reading in 2011

I didn't keep an official list for 2011, but here is what I recalled from my fragmentary mental database. Also listed is my best and honorable mention in three categories: novels, philosophy, and history and culture. I am thinking I need to read more science-related books in 2012!

Novels

The best novel I read in 2011 is Home by Marilynne Robinson. Honorable mention goes to Remainder by Tom McCarthy. 

Anansi Boys by Neil Gaiman

• Apart from the American Gods series, this one retells the story of the spider god Anansi. Expect charming Gaiman prose! B+

The Broom of the System by David Foster Wallace

• His Master's thesis turned novel, Wallace goes all Wittgenstein and ponders the limits of language in novel form. A-

The Fortress of Solitude by Jonathan Lethem

• Read this book only because I felt like I need a fictional introduction to Brooklyn. While the novel centers on two boys' friendship in and around the Boerum Hill neighborhood, I found the novel to be evocative of the borrough as a whole. Wasn't too much into the invisibility theme, however. B

The Guermantes Way by Marcel Proust

• Volume Three of Proust's Recherche corpus exudes with haute-bourgeoise shenanigans -- will Marcel just get a boyfriend already! The more mature of the volumes, in my opinion -- but equally as funny. A

Home by Marilynne Robinson

• The most beautiful and tragic novel I read this year. Shame I never read Gilead. I am working backwards. Agreeing with a critic (I forget who), Robinson creates a classic American tragic hero with Jack. A+

Neverwhere by Neil Gaiman

• First saw the BBC version. Loved it. London's Tube never seemed more inviting. And scary. One thing I love about Gaiman is the way he tells a story and his attention to quirky details. C+

Remainder by Tom McCarthy 

• Reminded me of Synecdoche, New York. Wonderful book nonetheless. Think: what if I could externalize my inner thoughts? This is the book's philosphical premise. A

Something Missing by Matthew Dicks

• Dicks wanted to write a great American novel but he failed. Or. It's just a nice romp into benign criminality. You decide. C-

Swann's Way by Marcel Proust

• The Combray section all by itself is justification enough to read this book. Kisses, memory, and a sweet piece of cake ... ahhhhh. A+

Within a Budding Grove by Marcel Proust

• If Swann's Way is about Marcel as a child, WBG is about blooming adolescence -- I guess. A-

Philosophy

The best philosophy book I read in 2011 was Pursuits of Happiness: The Hollywood Comedy of Remarriage by Stanley Cavell. Honorable mention goes to Learning to Live Finally: The Last Interview by Jacques Derrida.

Essays by Michel de Montaigne

• I didn't read every one of the essays, but I recommend the Apology for Raymond Sebond. My favorite quote: "How do I know I am not playing with my cat but in fact, it is my cat playing with me?" A+

Francis Bacon: the Logic of Sensation by Gilles Deleuze

• A readable Deleuze. In fact all of his "art" books are more readable than Anti-Oedipus, etc. You have to read this book with Google Images handy (or a monograph of Bacon's paintings) or the book does not make as much sense. B-

Learning to Live Finally: The Last Interview by Jacques Derrida

• Derrida speaks eloquently about legacy and mortality. Nicely done interview. The Last Interview is to Derrida what the Phadeo is to Socrates. A+

Must We Mean What We Say?: A Collection of Essays by Stanley Cavell

• The best essay is the one on modernity and art. Cavell writes as if every sentence is its own stand alone work. He is said to be our new Emerson. Hmmm? I am thinking of giving him serious consideration for 2012. A

Pursuits of Happiness: The Hollywood Comedy of Remarriage by Stanley Cavell

• Writing a paper on this book linking it with Eternal Sunshine of the Spotless Mind. Should be fun. This books does serious philosophy with classic American comedies from the 1930s - 1950s.  A+

The Republic by Plato

• Never actually sat and read this from Socrates's first words to the end in order -- mainly because when I did read it as an undergraduate it was cut up in pieces. Bad beginning made right. Now I done read it. Check out the last book. A+

Theory of Film: The Redemption of Physical Reality by Sigfried Kracauer

• Classic book on film theory. B+ 

The World Viewed: Reflections on the Ontology of Film by Stanley Cavell

• Unusual book. I think I need to read it again to fully understand. The section on silence and film is brilliant as well as his meditation on Joan of Arc. A

History and Culture

The best in History and Culture goes to Seductions of Psychoanalysis: Freud, Lacan, and Derrida by John Forrester. Honorable Mention goes to Steve Jobs by Walter Isaacson.

Are You Considering Psychoanalysis? by Karen Horney

• Usually I avoid book titles that double as questions, but Horney's classic introduction text helped me to conceptualize psychoanalysis from the point of view of an analysand. Perhaps a bit dated, but helpful nonetheless. B+

Who Was Jacques Derrida?: An Intellectual Biography by Jason E. Powell

• Not a straight forward bio, but rather serves both as a survey of his work interwoven into a sort of love song about a life. Written from the perspective of a disciple rather than a distanced critic. A-

The Painter of Modern Life by Charles-Pierre Baudelaire

• This book is a gem. A must read for anyone seriously interested in aesthetics. Baudelaire does a reflection on painting that I feel corresponds to how we can think about film. A+

The Rise of the Novel: Studies in DeFoe, Richardson and Fielding by Ian Watt

• The first chapter is a bit of philosophizing about the novel and its relationship (or lack thereof) with realism, while the rest of the book positions the novel form historically within the context of the mass production of books and the emergence of a reading middle class. B+

Seductions of Psychoanalysis: Freud, Lacan, and Derrida by John Forrester

• To write a book on psychoanalysis is difficult enough, but Forrester rises to the occasion by linking together seemingly effortlessly Lacan, Derrida, and Freud into a cohesive structure that makes this book a pleasure to read. Forrester's chapter on Freud, Breuer and Anna O. is exceptional criticism. I love how he interweaves the theme of gossip and psychoanalysis throughout the text.  A+

Sh*t My Dad Says by Justin Halpern

• Got hooked on Halpern's twitter feed and anticipated the book. Not as funny as the twitter posts that started the whole thing, mainly because the books attempts a cohesion that loses the ephemeral nature of tweeting. Good effort though! C-

Steve Jobs by Walter Isaacson

• Wow. What can I say? I loved every page of this book. Besides the reason why Jobs is famous -- Apple, Pixar, iPads, and whatnot -- the book reveals a man who is certainly binary, both impassioned and cruel, visionary, but pig-headed. Now when Jobs's wife comes out of mourning, the world will come to know the other half of Steve. A+

We Boys in Love: Teenagers in Love Before Girl-Craziness by Jefferey P. Dennis

• Thought this book would be more of a literary criticism, but rather I found Dennis frames the adolescents in the films too rigidly through this idea that homosociality is more real when divorced from sexual desire. The book writes about homosociality in these great films, which by themselves are ripe for cultural criticism, but at the end of the day, Dennis says nothing substantial. C

Shout Out:

I would like to say thank you to the Brooklyn Public Library and the New York Public Library for providing me with access to most of these books, both in print and Kindle editions, when available! Go Public Libraries!

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Proust, the Photograph, and Chance in Literature

Involuntary memory is a chance
happening precipitated by an object

Voluntary and Involuntary Memories
      For Proust, time stands still, ”As though there had been no time there but seven o'clock at night” (p. 59). A memory like this is not a memory of the intellect, for Proust, a voluntary memory — a memory likes this preserves nothing of the past. To capture an involuntary memory is a chance happening precipitated by an object. Proust likens it to reincarnation, of souls lost in some inferior being — does a touch, a taste bring them out to play? I think for Proust the soul is a prison yearning to reach out beyond its own limits -- this desire for transcendence is a desire of the human soul but the sheer will is not enough. 

Adoration of the Material World
Proust adores the material world; he has faith in the world because it offers a promise. The past is hidden beyond the realm of the intellect. The material world promises a portal to that hidden realm. But the key is not readily accessible. Proust's heaven is in the immanent reality of the material world. Proust's object is a material signifier — something like the effects of literature, “of which we have no inkling” (p. 60) — only chance. I come back to this passage: “it depends on chance whether or not we come upon this object before we ourselves die" (v. 1, p. 61).  What Proust calls “chance” Barthes call the punctum. Art depends largely on chance — this is what Proust means by involuntary memory. Every photograph is an imprint of the world. But not every photograph evokes something akin to what the madeleine cake did for Marcel. Why? It is not the cup, the cake, the photograph itself that constitutes the structure of the involuntary memory — it is the self's response to the world, both hidden and open, governed by chance, in which we hope to light upon something called truth before we die. The experience of involuntary memory is an "unremembered state" (v.1, p. 61). Neither the novel nor the photograph holds the memory inside of itself; the memory is "unremembered" by a chance encounter. 

Comparing Barthes's Unary Image with Proust's Habituation

What Barthes calls the "unary" image," Proust would call habituation. What Barthes thinks of as the prick, the punctum, of the photograph is not far from how the Recherche confronts the problem of photography. Why does Swann prefer the daguerreotype of Odette? But Marcel disparages the Kodak snapshot? Why does Marcel study the photograph of Berma in bed, but is disconcerted by a photograph of Gilberte? Marcel cannot stand the vanity of his grandmother in wanting to have her likeness taken, but he concedes that his feelings are complicit with his own fantasy of a good night's kiss. The photograph promises a "supplementary prolonged encounter" (v. 3, p. 99). What is troubling about the photograph is the way it unsettles us.

A Cruel Trick of Chance

     In a "cruel trick of chance," Marcel sees his dead grandmother as a photograph (v. 3, pp.183-185). In this scene, the theme of the photograph is introduced without the actual presence of a photographic object. The grandmother appears "as a photograph." The grandmother is not there; she is absent, but Marcel perceives her similarly to a photograph, a spectral object, however, something akin to an hallucination or to a dream. The nodal point of the novel and the photographic image is the anticipation of an image not fully seen; for as Proust says, "We never see people dear to us except in the animated system, in the perpetual motion of our love for them, which, before allowing the images that faces present to reach us, seizes them in its vortex and flings them back upon the idea we have always had of them, makes them adhere to it, coincide with it" (v. 3, p. 183). What is striking here is that Marcel curses "the cruel trick of chance" that conjures up the image of his grandmother, as if his eyes were a photographic plate. Even in the moment that he sees his grandmother, a spectral image of her, sitting on the sofa — it lasts only a moment — he does not know her. "I who had never seen her save in my own soul, always in the same place in the past, through the transparency of contiguous and overlapping memories .... I saw [the spectral image of my dead grandmother] sitting on the sofa beneath the lamp, red-faced, heavy and vulgar, sick, day-dreaming ... an overburdened woman I did not know" (v. 3, p. 184).

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Christmas Letter from New Orleans

For Christmas season 2011, I went back home to New Orleans to visit my family and friends. Here is what I did and saw. Read it!

An Ignatius Reilly Mardi Gras float
rolls through town / Image credit: Flickr

“I am at the moment writing a lengthy indictment against our century. When my brain begins to reel from my literary labors, I make an occasional cheese dip.”  

― Ignatius J. Reilly 
Anthony sits at a wooden table at the Balcony Bar, a place that looks regal during the daytime but becomes the center of considerable brouhaha at night. Having had a few cocktails, we sit together eating bar food. Anthony feeds me a French Fry. Carrying a tray with hamburgers, Andrew almost runs into a cadre of revelers who are talking so loudly the entire building seems to close in on itself with the noise. We sit and attempt conversation. This is our city every night. It has been a year and a half since leaving New Orleans. Having returned home for eight days I leave again with renewed something for the Crescent City. Martin says Nola (as locals call it) is the best city. He's right.

Disparagement of the Photograph in Proust

Man Ray. Harper's Bazaar, November 1936.

The Unkind Treatment of Photographs in La Recherche     Photographs are not treated kindly in Proust’s Recherche. In the “Mother’s Kiss” episode in the Combray section of Swann's Way, there is a humorous account of why photographs ought not to adorn the walls of Marcel’s room — for his mother found in them “vulgarity and utility” (v.1, p. 53). The sheer fact that a photograph is reproducible, that another child could have the same photograph hanging in his or her room as some other kid seems scandalous to Marcel’s mother’s aesthetic taste. A photograph is “common” since it can be reproduced mechanically. The photograph is vulgar since it “captures” objects in the world only to reproduce them as commercial banalities. The photograph does not get under the skin of everydayness. Photographs reveal nothing more than the banal surfaces of things and do not penetrate any deeper. To put it another way: the novel is concerned with animating reality, not the banal apprehension of reality.
According to Proust Photographs Point to Vanity     Proust also links photography to vanity. Saint-Loup takes a photograph of Marcel’s grandmother. Noticing she puts on her best dress for the occasion, Marcel reports he feels annoyed at his grandmother’s childishness in wanting to appear her best, a fact that surprises him for he had always imagined her to be freed from vanity (v. 2, p. 500). Proust is echoing the idea that “having one’s likeness taken” is offensive to a pure concept of beauty that ought to look deeper than surface appearances. However, Proust’s aversion to photograph goes deeper than a moralistic stance against vanity. It is not an ethical deprivation which is at stake in the photograph, but rather, what Proust seems to deride is the distraction the photograph promotes and the aura of unreality it promotes. Marcel is annoyed that his grandmother will sit for Saint-Loup to have her likeness taken but she will not spend time with him, a theme that can retrace itself back to the young Marcel in Combray waiting for his mother to arrive with the long-awaited kiss. The photograph gives a false promise, one of deferral, the promise of halting time, anticipation in the guise of distraction.

     Take for example the magic lantern: an analog for the disparaged photograph which is linked to the mother’s kiss episode in Combray. It is important to note the unsettling feeling aroused by the magic lantern at the start of Proust’s masterwork for it serves as a prelude to the disparagement of the plastic arts throughout the work along with a distanced awe and astonishment. Where Proust disparages he also obsesses. Where photographs are mentioned in Proust, even in passing phrases, metaphors, or allusion to photography, there is often the anticipation of themes we are more familiar with in Proust, the anticipation of a kiss, questions of real and unreal, the sensory world and the world of ideas, insight versus mere appearance.

      Placed over his bedside lamp, the magic lantern entertains the boy Marcel by a show of several points of multi-colored light creating a luminous kaleidoscopic effect that evokes both the camera and the cinema, appearance, and reality, dark and light, all of which make Marcel uneasy. The iridescence is too much. Like light pouring through stained glass, the child’s magic lantern creates a “supernatural phenomenon of many colours,” causing an unreal effect to superimpose itself on the familiarity of Marcel’s childhood bedroom in Combray. Marcel is both awed and discomfited by the parade of lights the magic lantern produces, as it illuminates a story outside of Marcel’s own experience, thus limiting access to an inside inner experience. The magic lantern produces an unreal effect that shakes Marcel, the budding writer, and puts into question his desire to create uniquely and inwardly. “But my sorrows were only increased thereby, because this mere change of lighting was enough to destroy the familiar impression I had of my room …” (v. 1, p. 10). Proust’s point is to show how the luminous photographic and kaleidoscopic effects of the magic lantern discomfit and unrest the artist’s -- the novelist’s -- ability to capture reality. The magic lantern, and by extension, the play of light that is the photograph, an inscription of light on paper, is set against what novels can do, viz., what Proust feels he can do as a young artist, as a novelist.