Sitting in another box

Tom McCarthy recently reviewed for The New York Times a novel by Clancy Martin called How to Sell. He says some good things about the book and tells us that, ultimately, he enjoyed it. But there is, he suggests, a problem. Not so much with the book itself as with what we're being asked to accept it as (via, for example, glowing blurbs from the likes of Benjamin Kunkel and Jonathan Franzen attesting to the novel's greatness and originality):

we’re being asked to buy into the notion that lively storytelling and more-than-adequate craftsmanship constitute great, “classic” literature. I’m not so sure. To bastardize the Latin, emptors need to sober up and exercise a little caveating over that one. I suspect that real, high-karat literature, with its complexity and ambiguity, its general slipperiness, is sitting in another box, one opening to a dimension that “How to Sell” doesn’t breach (and, to both its and its author’s credit, doesn’t itself actually claim to) — or, to use a fittingly ur-geological metaphor, that it’s lying buried in a rock-seam that this book walks comfortably over the top of but leaves unmined.

McCarthy's being a little coy here with his "I'm not so sure"; in fact, he's pretty sure that "lively storytelling and more-than-adequate craftsmanship" are not what constitute great literature, as readers familiar with McCarthy will understand. He is of course right, but we're not supposed to think so, are we? A book like this is perfectly entertaining, but that's not enough, is it? It doesn't seem to be enough either for the book's proponents--they want to claim it as something more--or for those of us actually wanting something more. As Mark Thwaite says in his recent post on the topic, by all means, like what you like, no one's stopping you. (By the way, it's nice to see Mark back to blogging at strength, and with longer entries to boot!) The blurbs for this book and others, so often straining for comparison with established literary classics, along with the proliferation of literary prizes and much elses besides, reveal a pervasive anxiety about literature. We want to be entertained, at all times it seems, but we also want to be able to feel as though we're engaging with greatness. No, the things we like must also be recognized as canonical, or possibly counter-canonical, but as art.

But then there is also the pressure to feel that art, literature in this case, should be entertaining. So we have pressure from, say, genre partisans that literature be entertaining, broadly speaking, and an opposite pressure, that entertainment be defined as literature.

With several recent entries decrying entertainment, readers might be forgiven for thinking I don't like to have fun. After all, we need entertainment, do we not? Of course we do. But do we need so much of it? Does it need to constantly be available, constantly at our fingertips? Does it need to constantly be produced at such an alarming rate? And is it too much to maintain that art and entertainment, both necessary, are not the same? Do I go too far if I suggest that our culture of entertainment makes it harder and harder for us to recognize, let alone fruitfully engage with, the real thing? I don't think so. And the hectic, tiring lives we lead--do they not also make it increasingly likely that we'll opt for entertainment? And that we'll be less and less receptive to art?

Pastoral Thinking

At Sponge!, Lee Rourke writes about the great meditation on walking in Roubaud's The Great Fire of London, a marvelous bit of writing I neglected to mention in my long post on the novel (which Lee graciously links to):

When walking, he argues (and to paraphrase) we are in ‘possession of time’: each footfall counts its passing. We can choose to stop, to turn, to slow down at our own pace, to meander and wend, to backtrack and shortcut; within this act of possession things are infinitely freer. Whereas on a train, plane, or in a car, time has captured us, we are at its mercy, carried by it with no control, it dictates our decision to be free; we are not free in this sense.

Apologies to Lee for quoting the entirety of his post (but it's very short and my own paraphrastic powers are at an extremely low ebb these days), but I wanted to highlight the freedom associated with this "possession of time". We are so rarely truly in possession of our time, with jobs and commutes and so on. Even when we do have time to ourselves, it is bounded by those demands on our time over which we have little real control. This domination by speed, by time, this unfreedom, affects our very thinking. Some will argue, and do, that this is fine and dandy, a newer, quicker thinking has come into being. I might have made this argument at one point, but these days I find it wanting.

By coincidence, last night I was reading in Kafka's Diaries and came across an entry on Goethe's diaries (would that in Goethe's diaries he were writing about yet another's diaries, but it was not to be). Kafka remarks that Goethe's observations while traveling are different than they would have been in Kafka's day

because made from a mail-coach, and with the slow changes of the region, develop more simply and can be followed much more easily even by one who does not know those parts of the country. A calm, so-to-speak pastoral form of thinking sets in. (translation by Joseph Kresh)

I want this, this calm, this quiet, this slowness, space to think, time to work things out. Down with speed!

Lost in Translation

Towards the end of his short essay titled "Translating" (found in Friendship), Maurice Blanchot writes the following:

The example of Hölderlin illustrates the risk that is run, in the end, by the man fascinated by the power of translating: the translations of Antigone and Oedipus were nearly his last works at the outbreak of madness. These works are exceptionally studied, restrained, and intentional, conducted with inflexible firmness with the intent not of transposing the Greek text into German, nor of reconveying the German language to its Greek sources, but of unifying the two powers--the one representing the vicissitudes of the West, the other those of the Orient--in the simplicity of a pure and total language. The result is almost frightful. It is as if one were discovering between the two languages an understanding so profound, a harmony so fundamental, that it substitutes itself for meaning, or succeeds in turning the hiatus that lies open between the two languages into the origin of a new meaning.

At the beginning of the essay, Blanchot mentions the notion of the pure, originary language towards which, it was believed, translation must work. But, "In fact translation is not at all intended to make the difference [between languages] disappear--it is, on the contrary, the play of this difference..."

Translation is always controversial--should it be literal? should it be a work of its own? how much leeway does the translator have? what is a literal translation anyway? English is the only language I have. I am completely dependent on translations for much of what I want to read. As such, I have considerable anxiety on the subject, though it ebbs and flos. My purpose in quoting the passage from Blanchot at the beginning of this post is to highlight the sort of experience that is completely lost to me, to perhaps shine a light on this loss. Obviously I know neither German nor ancient Greek, so both sides of this transaction, this translation are necessarily beyond me.

Let me back up a bit and try to explain what I'm getting at, for I can see I've already written myself away from the original spark. Even if I had the ancient Greek, say, Hölderlin's translation into German would be irrelevant to me. That is, approaching Antigone, I am either going to read it in the original, if possible (which, for me, it is not), or in one (or more) of the many English translations. Hölderlin's work here is not available to me, it cannot, itself, be translated into English. There are third-hand translations, of course, so don't misunderstand. It's not that Hölderlin's translation could not, in theory, be the basis for a subsequent translation into a third language, possibly English. I mean that Hölderlin's achievement, which for Blanchot is "almost frightful", is necessarily lost to me unless I am a native speaker of German, or, possibly, a particular scholar or enthusiast of Hölderlin. The frightfulness is lost, is it not?

I was merely struck, while reading Blanchot's essay, by this unavailability. It wasn't an anxious moment, as when I worry about which translation to read, or when I'm all too aware that I have not yet read this or that work relevant to a discussion. I can alleviate the latter anxiety by reading the work in question. But I cannot gain access to the sort of experience necessary for me to appreciate Hölderlin's translations. This is not a problem. It is an acknowledgment. Not everything is translatable, including other translations, a reminder that not every work of art, not every piece of literature, can be experienced by everybody.

Men proving themselves to other men is as dangerous as it gets

At Insurgent American, Stan Goff has posted the text of a talk he gave in April at Wake Forest University on militarism, patriarchy, capitalism, and pornography. This is vitally important stuff, required reading in my opinion. Here is but a small portion of it:

Here is the Don’t List for men. Do not dominate. Do not humiliate. Do not retaliate.

That’s a hard don’t list for men, when the culture tells us incessantly and forcefully that to be a man means to dominate, to humiliate, and to retaliate. These are equated with strength; and they are counterposed to all things quote-feminine-unquote. This male norm of masculinity-as-conquest is ruthlessly policed in male culture, which is also a hotbox of probative escalation.

I could ask everyone in this room if you fear unknown men to raise your hand. You see I’m raising mine. Men proving themselves to other men can be the most terrifying thing you’ll ever see. I say that as a military veteran who worked in eight conflict areas, in Vietnam, Latin America, the Caribbean, and Africa. Men proving themselves to other men is as dangerous as it gets. There are people right here in this room who would be alarmed by the sudden sound of multiple male voices laughing nearby, because that sound can be so pregnant with mischief. Males are bonding. Escalations are possible.

This is male culture that idealizes the conquest of women, the conquest of colonies, and the conquest of nature. It is probative conquest, too; and it requires trophies for the other men to whom you are proving yourself, and as proof of masculinity to display for women.

A bit more on Sonic Youth

Of course, even as I was writing, numerous arguments contra k-punk's attacks on Sonic Youth came to mind (several of which are better articulated here and here). I could have gone on and on, but I soon realized it wasn't Sonic Youth that was the issue. I am suspicious of the narrative of progress, in art as much as in society generally, so there's no particular need to worry about innovation, as such. Though the question of the need for a work to exist is something else entirely.

But now for a little defense of Sonic Youth of my own. In the context of commercial music under capitalism, with its institutional disdain for the things people care about, for families and communities, with co-optation ongoing and inevitable--given this context, isn't much of what Sonic Youth does exactly the kind of thing we need? For one thing, of course, they actually play music. They are not just spectators, as so many of us are (myself especially). And they are a cohesive unit and a family. They pay due respect to a certain tradition, one that matters to them, and are generous with younger musicians and artists. Isn't the Left supposed to value such common efforts and communal activity? Isn't expecting "culture" to somehow transcend itself and deliver the future a bit much to ask of it, on its own? Though I maintain, contrary to the dismissals of the recent discussion, that the band has been on a remarkable late career run, it's nevertheless true that it can easily be charged that the world does not need another Sonic Youth record. But, frankly, we don't need any more records of any kind. But the world does need music. If recording music became a technological impossibility (as it seems to me it eventually will, optimist that I am), I feel confident that Sonic Youth would find some way to make a worthy racket and continue to enable others to do the same. I say good for them.

Nonsense & Irritation

I have conceded that stupid readers exist. Indeed, yes. So, alas, obtuse misreadings abound. (Frustrating as it may be, I can take some solace that, in this case, in being so idiotically misread, I am at least in good company.)

For what it's worth, I am not a pacifist. And there is massive difference, as I mentioned explicitly in the linked post and elsewhere, between violent revolution or insurrection on the one hand, and state terror on the other. Thus, to categorize the mass volunteer effort to fight for the losing cause in the Spanish Civil War along with those cynical State operations known in the liberal press as "humanitarian interventions" is to make an error of grotesque proportions. A person capable of making such a comparison is clearly not worth taking seriously or responding to any further.

"fuck indie especially for saying fuck you to its own history of saying fuck you"

What gets left unsaid in my last post is that what I'm really weary of, indeed increasingly suspicious of, is the culture of entertainment (what Fox Mulder, who I cite without irony, once called "the military-industrial-entertainment complex"), the culture of consumption of entertainment, the culture of the well-made, and the accumulated mass of history, the always available entertainment options, past and present, and so on. All of it. Of course, I am deeply implicated in this, even as I feebly resist.

Which brings me back to music and my conflicted attitude towards it. A recent multi-blog discussion about Sonic Youth has helped to illuminate some of my own concerns but also hit rather close to home. For, I might as well state right upfront, Sonic Youth is one of my favorite bands. And in light of the discussion, I think this fact may well be symptomatic of something previously difficult for me to articulate.

The discussion was set off by Mark "k-punk" Fisher's review in The Wire of an apparently (necessarily?) awful Neu! tribute album. In decrying rock vampirism, k-punk wrote this:

Sonic Youth, Primal Scream and Oasis all played their part in making this kind of retro-necro acceptable. As the most ostensibly credible of the bunch, Sonic Youth should arguably bear the most blame (indeed, if one were to locate the point at which rock modernism lapsed into curatorial postmodern pastiche, you could do worse than cite something like Bad Moon Rising.)

This unleashed a batch of responses and responses to responses, as more or less follows:

1. ZoneStyxTravelcard takes up k-punk's apparent throwaway line, and defends Sonic Youth from the charge.
2. k-punk replies and expands.
3. Simon Reynolds chimes in.
4. Zone replies, re-defends Sonic Youth.
5. Marcello Carlin chimes in.
6. and k-punk responds again.

If you're interested, it's worth reading through each of the parts of the exchange; for my purposes, I'm going to summarise k-punk's general argument, with some choice quotations, before moving on to my own remarks.

For k-punk, Sonic Youth "represent the embourgeoisiement of the rock avant-garde, its disconnection from overreaching, intemperance, intolerance and antagonism." That is, contrary to the stringency of the post-punk and No Wave bands and their "scorched earth intolerance for the past" (whereby the Sixties were identified as "the problem"), Sonic Youth are a rapprochement with the past, curators of that past and the pasts of other, more marginal figures, while their own formal innovations have long ago ceased, as they continually combine and re-combine different elements of their aesthetic, ossifying along the way into the grand-old statesmen of so-called experimental rock, consolidating an alternative to the mainstream, which is to say, another mainstream (as he puts it, "the idea there is a mainstream which repudiates Sonic Youth is the fundamental (rockist) fantasy which feeds their allure" and "SY's precise function for Restoration culture is to be a hypervisible simulation of an alternative within the mainstream"). They are primarily "men (and women) of good taste":

but there's a massive difference between being a person of good taste and being a great artist. As Nietzsche rightly argued, a certain kind of stupidity is necessary for all greatness, a preconditon for which is a deliberate narrowing of perspective, a refusal of 'well-roundedness'.

And finally:

Curating can have an important function to play, but with SY there has been a conflation of art and curatorialism - the alibi for their music's increasingly poverty at a textural and textual level is the way it supposedly makes a wider audience aware of marginal material. Sonic Youth are 'art' in all the worst senses (they possess a certain insitutional prestige, a certain standing and position, a cetain set of meta-rationales for what they do); but they are not art in the sense that there is a compelling reason for them to exist - there is no more at stake here than just another cool leisure product with all the right credentials.

When I read the first k-punk post on Sonic Youth and saw the phrase "person of good taste", along with the Nietzsche reference, I had just begun reading Agamben's The Man Without Content, specifically the chapter on the historical emergence of the "man of taste". I was thinking of the essay in terms of the literary, my own former attempts to become a reader of good taste, who was open-minded above all, and yet capable of making the needed discernments of quality. But then as the Sonic Youth conversation continued I realized that my experience with music is perhaps a better prism through which to view the problem.

It seems to me that one's taste for or against a given thing can obscure its import. If you think Sonic Youth is and always was boring, then what k-punk says may appeal to you immediately. If you think otherwise, then his remarks may seem ridiculous. After all, we're constantly told, everything comes down to taste, and we're all entitled to our opinion. But here, perhaps, I occupy a different position. Since I like Sonic Youth's music and, in fact, have even enjoyed their recent records very much, I'm sympathetic to Zone's attempts to defend them (even if Zone is only really defending the great 80s records). And yet k-punk's arguments strike me as unassailably correct. How to account for it?

I've blogged in the past about my history with music, how I was into classic rock in the 1980s, against the popular music of the day (and altogether ignorant of the underground). As such, my very taste in music is inherently curatorial, based as it was on the limited playlists of classic rock radio and the continued reverence of Rolling Stone magazine. My time was spent with music already substantially removed from the source, already canonical, already curated. (It's perhaps worth confessing that my own insecurities may have pushed me to opt for something about which judgment already seemed secure: I wasn't going out on a limb liking Led Zeppelin or Bob Dylan, even if not everyone did.) By the time I first got to what had been underground rock, it had already been effectively co-opted. In fact, I could and, without realizing it, did approach it as another classic rock. The first Sonic Youth record I bought was the major-label debut, Goo. While Nirvana opened up a lot for me, what they really represented culturally was a last gasp of that underground and the fuller entrenchification of its sound for the canon. (The other popular "grunge" bands--Soundgarden, Pearl Jam, Alice in Chains--were easy to adapt to since they were fairly explicitly classic rock in sound.)

This experience is very different from that described by k-punk or Simon Reynolds of their formative years. They were blessed, or possibly cursed, to have come of age right in the middle of the post-punk period, when it seemed to them as if pop music could continually change itself as well as the world.

But returning to Sonic Youth for a moment. Though they emerged out of the No Wave period, possibly the Finnegans Wake of rock (not analagous to its elaboration, obviously, but to its extremity), it's not difficult to agree with k-punk that they're really a pulling back from the extreme, a retrenchment, a classic rockification of punk & post-punk. When they've tried to branch out in recent years, within the brand (as opposed to in their solo outings), the broader fanbase rebelled; consider the much-maligned NY Ghosts & Flowers: a slight alteration of the formula, incorporation of some of the things learned from hanging out with the improvising community, with jazz players, but widely panned (famously by Pitchfork: "pretty much the worst thing ever"), their live shows in support of the album booed by fans no doubt wanting more of Daydream Nation, or worse, Dirty. Their albums subsequent to NY Ghosts & Flowers--Murray Street, Sonic Nurse, "Rather Ripped"--just as widely hailed as "returns to form". Interestingly, the first two of these struck me as decent compromises, and are among my favorite SY records, but then I revel in the sound as sound. And yet it's hard to argue that they are essentially a classic rock band, fundamentally careerists making a sound that happens to be pleasurable to me. One could be more charitable and say that they are, like folk or jazz musicians, an aging band working within an established idiom, one semi-established by themselves, bringing the noise the way they know how.

And. . . and I realize anew that a big reason why I basically quit blogging about music is because my thoughts on it are so hopelessly diffuse and meandering and equivocal. In the interest of finishing up this post, I will spare you the lengthy mini-essay on the curatorial politics of my iPod playlists (no kidding) and come to some closing thoughts, which won't touch on Sonic Youth at all. (Also for another post, some thoughts about our roles as spectators, which again would tie in with the Agamben. . . )

On the one hand, I think there is no reason why musicians should have to stop making the kind of music they like making, no reason why they should be expected to either quit or to adapt to newer styles. In this sense, I cherish the tradition, the folk tradition, communal music, and how it has played out in rock, etc. On the other hand, I want to defend and hold to the idea of music as art, which is of consequence when it needs to exist, when there is something at stake for the musician. But then we're talking about commercial music in the age of mechanical and digital reproduction, right? That is, could it ever have been otherwise, given the realities of capitalist production? Let me quote something from Simon Reynolds, which according to the excellent blog (new to me) Airport Through the Trees, appeared in the year-end issue of The Wire:

As young musicians develop in a climate where the musical past is accessible and available to an inundating degree, you encounter artists whose work is a constellation of exquisite taste, a latticework of reference points and sources that span the decades and the oceans but never quite manages to invent a reason for itself to exist.

And I ask, again, was anything else ever likely or even really possible? The vital music that was being made during previous periods when it seemed as if popular music meant something more--the 60s, the post-punk period, the emergence of rap in the 1980s--were fairly easily co-opted, adapted to. Now, with the proliferation of available product, the constant availability (competition) of the past, the easy portability of music, even those artists making something new and interesting get quickly absorbed into the maw of entertainment. Even the best, most necessary art, whatever it may be, becomes something merely to plug into to pass our dwindling leisure time, more consumption of more product. . . and the seemingly unassimilable merely becomes part of stable, alternative mainstreams fostering underground careerism, threatening nothing.

And just because I have no better way to do it, to finish up here's another recent post from Airport Through the Trees:

I miss punk. Not the sound of punk, nothing of the aesthetics, but more the power of it, if that makes any sense. Do you understand how tedious it is, tracking the boring and slow aesthetic evolutions of complacent genres? I love music but I want something more visceral. I can't stand the idea of another "unique voice" in composition, or jazz, or whatever. The weight of the whole history of music, etc. I think Johnny Rotten probably liked Pink Floyd on the day he wrote "I Hate" on one of their shirts. But he knew it was time to throw accepted wisdom and chin-scratching connoisseurship out the window for the benefit of something more. That is how I feel. I love Reich, but fuck Reich. I love David S. Ware, but fuck him too (though I hope he recovers from his illness). And fuck techno and house and fuck indie especially for saying fuck you to its own history of saying fuck you.

Yes, I say, yes, but more than that, I just want to say "fuck entertainment". (And that last line speaks to the co-optation of the Left, does it not? Yet more food for thought. . . )