“As you can see here, it’s all about desire and longing.” Yes it is, Ragnar, yes it is. Icelandic performance artist Ragnar Kjartansson is fascinated by what he calls “the oppressiveness of western culture claustrophobia.” His newest work, Bonjour, has shifted focus to poke fun at the ways in which the rest of the world elevates French sensibilities.
Dabbling in Cliché
The Baroque Era
“These poets foreground elaborate and mythically transgressive evocations of eros in which stylistic excesses counter the violent excesses of homophobia and racial marginalization. The queer Baroque is, fundamentally, a poetry of radical ambivalence.” On Prelude to Bruise by Saeed Jones.
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Pictures of You(th)
The good people over at The Rumpus have added another fantastic essay to their Albums of Our Lives series. This week, it’s Jonathan Kime who gives The Cure’s crushing, overwhelmingly melancholic 1989 album Disintegration the track-by-track treatment. Earlier iterations included Sufjan Stevens and Jason Isbell.
“What a world. It could be so wonderful if it wasn’t for certain people.”
Woody Allen wasn’t kidding when he said he wasn’t going to film in New York City ever again. According to The Hollywood Reporter, the setting for Allen’s next film will be Denmark.
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A Religious Review
“POPE OF PURGATORY WOULD BE A SOLID BAND NAME.” Part two of a series in which Mallory Ortberg of The Toast reviews Martin Luther’s The Ninety-Five Theses.
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DFW’s Nonfiction
Leveling the kind of accusation that perhaps only such an esteemed writer can, Jonathan Franzen intimates that David Foster Wallace‘s nonfiction (such as “Shipping Out“) wasn’t exactly honest.
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Calm Before the Storm
Huzzah! 336 issues of the avant-garde magazine The Storm (1910-1932) have just been digitized and are available for download. Some notable contributors to The Storm included Vasily Kandinsky, Paul Klee, and many others.
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Sporadic Moments of Contact
“I realize that, like most fantasies, reality is likely to be more complicated. For starters, literary communities—like most communities—have echelons. They have cliques; they have ghettos. You are the wrong age, work in the wrong genre, don’t know the right people, don’t teach at the same program … Anyone who thinks this isn’t true is someone squarely at the center of his or her chosen circle.” On peripherality and the uncertain nature of literary community.
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