Larval Subjects . . Of Folds and Vortices - There is a time of writing that differs from the time of the text. The text is a thing. It is a machine that has come to stand in the world, that has ach...
Perhaps every author experiences this; a strange sort of dividuation that takes place as a result of the written. No doubt this is why the written has so often been associated with death. The author becomes a sort of walking dead, trapped as they are in the words she has inscribed or in the way she has preserved the flowing purport of thought made matter. Where writing is a verb, the unfolding of a thought that she has not yet thought, the written is the dead letter, fallen into matter and now present in the world. She has been dividuated by her writing. The author is always two. She is the writing, but also the written that persists after her. She is responsible for and before the written, yet also not it. She is responsible for what she has written, for she inscribed those things and made them actual in the world. “But you said this!” But already she is elsewhere in her writing and can scarcely even recall that she wrote this. Continuously she faces the question: “will I ever be equal to what I have written? Will I ever write so well again?”
It is easy to lose ones nerve, easy to experience terror before the dehiscence, the spaltung, that is writing and the written. How strange it is to come across your writing as a reader, having forgotten that you have written this, and to encounter your split, your being as the walking dead, before a text that you produced but don’t recall having produced. The time of the written is a time of waiting. One waits to see whether it will register in the world, whether it will exists, while also dreading that it will for already you are elsewhere, beyond the written, after the written, in writing.
"I also prefer it if the writer is dead, because then there is no little cloud of jealousy to darken my admiration." https://t.co/vaup3KPPGv
Update, October 30: And here's a new essay by Pamuk on himself and his work, "Implied Author" ("To read a dense, deep passage in a novel, to enter into that world and believe it to be true - nothing makes me happier, nothing binds me more to life. I also prefer it if the writer is dead, because then there is no little cloud of jealousy to darken my admiration. The older I get, the more convinced I am that the best books are by dead writers.")
[can be read, and enjoyed, individually, they form two parts of a diptych; one compliments and buttresses the other] https://t.co/9DnqtB6eeG
Admiring the deserving among those living should be considered a bigger virtue and a duty than paying tributes to the dead, year after year. [TNM55]
Does Fiction Based on Fact Have a Responsibility to the Truth?
New York Times - 3 hours ago
Dog, Father, and Rose - Phenomenology and the Non-Human Animal: At the Limits of ... https://books.google.co.in/books?isbn=1402063075 Corinne Painter, Christian Lotz - 2007 - Prev...
Kailash Chandra Baral - 2008 - No preview - More editions On the works of John Maxwell Coetzee, b. 1940, South African novelist and nobel laurate.
In this task, Coetzee, to my mind, stands on the other side of Kundera. He is not for the radiance of fiction but for its starkness; not to protect the being but to ensure becoming; [...]
J. M. Coetzee - Critical Perspectives [Kailash C Baral]
Taoufiq Sakhkhane - 2012 - Literary Criticism - Spivak's attitude or indirect participation in that controversy came in the form of a ...
The received dogma asks us that our language be pleasant and easy, that it slip effortlessly into things as they are. Our point of view is that it should be careful, and not take the current dogmatic standard of pleasure and ease as natural norms.
In Other Worlds: Essays In Cultural Politics Gayatri Chakravorty Spivak - 2012 - Literary Criticism
Essays In Cultural Politics Gayatri Chakravorty Spivak ... The received dogma asks that our language be pleasant and easy, that it slip effortlessly into things as ...
In the age where everyone is in the public and everything is visible, this volume creates a delay in which the internet of things, mass surveillance and social media are asked "What is/not the Public?
Nevertheless, it is in the name West that the culture and its symbolic resources were for the first time connected to the public as a fact of reason. When we speak of a public sphere outside the West here, it implies not only the contributions that ...