Jorge Semprun sur Faulkner

de "L'écriture ou la vie"

- Vous m'avez parlé de Faulkner, d'Absalon! Absalon! Le roman se trouvait aussi dans la bibliothèque de Buchenwald... Vous l'avez lu en allemand.

- Voilà, lui dis-je. Faulkner, vous savez le goût que j'en ai. Sartoris est l'un des romans qui m'a le plus marqué. Mais Absalon! Absalon porte à l'extrême, de façon obsessionnelle, la complexité du récit faulknérien, toujours construit en arrière, vers le passé, dans une spirale vertigineuse. C'est la mémoire qui compte, qui gouverne l'obscurité foisonnante du récit, qui le fait avancer... Hemingway construit l'éternité de l'instant présent par les moyens d'un récit quasiment cinématographique... Faulkner, quant à lui, traque interminablement la reconstruction aléatoire du passé: de sa densité, son opacité, son ambiguïté fondamentales.

Poor Economics

I hate reviewing my readings with too much delay and not enough time on my hands, in the process not doing either these books nor my blog due justice. And this especially when it comes to a gem such as Poor Economics by Abhijit V. Banerjee and Esther Duflo. The authors navigating between Scylla (William Easterly) and Charybdis (Jeffrey Sachs) introduce randomized controlled testing into development economics trying to determine what really matters for life choices of the poor.

There is no clear storyline to their book, which makes reading it a bit chopped at times, but that's also simply the point I think. There is no clear theoretical explanatory narrative to life and those who pretend that they know one are deceiving themselves. Duflo & Banerjee concentrate on simple, individual decisions such as why the poor do not vaccinate their children sufficiently, or only send their gifted kid to school. Really an extremely interesting insight in the reality that development programs collide with in the field.

The Merry Adventures of Robin Hood

I had put Howard Pyle's The Merry Adventures of Robin Hood on my e-reader quite some time ago because I had been quite obsessed with Robin Hood during my childhood. Not only had I read a German copy of his adventures, but I had of course also seen the classic Errol Flynn film, the Disney version, and even the early-90s Kevin Costner one. In a rather disappointing twist I discovered quickly that the English-language version on my e-reader was actually simply the original of the German-language copy I had read as a child. I knew all of the stories by heart then. Still, it was interesting to see how Pyle - an American author on a truly British topic - played with language to give his text an older feel (he only wrote it in the late 19th century) and also how his version differed from what is popularly seen as inherently part of the Robin Hood legend today (namely that he has a pertinent love interest, Maid Marian is mentioned only fleetingly).

Most interesting though was the Wikipedia article consumption I indulged for this blog post. It seems as if Robin Hood is in fact based on a number of ballads dating from the 14th century onwards (and which may or may not in turn be based on an actual historical figure). Yet, this Robin Hood (just like the fairy tales of the Brothers Grimm for example) was adapted over time to suit the predominating mood or expectations. Thus, only in the 19th century does he become truly a bandit who steals from the rich to give to the poor. Pyle tells the story of how he is forced to flee into Sherwood Forest after having killed a forester who cheated him out of his winnings in a bet and then threatened his life. Yet, in one of the old ballads Pyle based his book on, Robin simply kills all 14 foresters who have also not threatened his life but merely cheated him.

Fascinating stuff about what stories mean, how they are adapted, and what the accurate version of a tale everybody knows actually is. And, oh yeah, the book was an enjoyable, fast and easy holiday reading of course.

Mason & Dixon

Thomas Pynchon's book Mason & Dixon clearly is one for the ages. 700 pages, including extremely well-researched historical details and expounded-upon stories as well fantastical and absurd deviations on, i.e., flying mechanic ducks with (too many) feelings. The title of course refers to the surveyors that established the to-become-infamous Mason-Dixon line that divided the slave-holding South and the - less slave-holding - North of the United States. Pynchon describes Mason & Dixon's work together - and separately - before they came to America but especially once they are there. His is a bombastic book that I fail to find words for, that is impossible to get a grip on properly, which doesn't even suck one in, because it is too complicated for that, but which one is incapable of properly putting down either, and which, especially, stays with one; its stories, its absurdities.

What We Talk About When We Talk About Love

I had read Raymond Carver's short story collection "What We Talk About When We Talk About Love" a couple of years ago already (maybe a decade or so) and had kept a very positive memory of it. So when I saw it lying around the other day, I picked it up and essentially read within one evening and one morning. The speed with which I raced through this book already hints at what I thought of it, Carver has such an amazing way to describe human relations with such few words - and thus darkly... Let's hope for humanity that he is wrong about people's nature, even while his stories show all the strength of what is human-created culture.

Black Swan

I had picked up Nassim Nicholas Taleb's book The Black Swan when I was in New York in the spring. It had been on my list of current social sciences literature classics to read for quite some time. Taleb quite obviously is an impressive erudite, scholar and practitioner. He is fluent in multiple languages and can (according to Wikipedia) read a number of classical ones in addition. His literary and scholarly references abound in The Black Swan.

And yet, he is not a great writer. His style felt too much like someone highly intelligent trying to write popularly in order to scale the heights of the New York Times Bestseller List, which in deed he did. It made reading the book a bit annoying at times though I found, repetitive, and almost simplistic in some of his examples and anecdotes that stand in stark contrast to the more analytical or rare numerical parts.

Most important though is the theory of the Black Swan he proposes. I will not go into much detail on this, there is a whole Wikipedia article on it and I am not sure I'd even be capable of properly explaining his argument. Quickly put, Taleb argues that most - especially financial - statistical analysis is based on a no-outlier model of the world reflected say in body sizes where frequency groups around an average and there are fewer and fewer people at very high and low heights. Yet, this kind of model fails in the world of social sciences where a single event (a systemic crisis in the markets let's say, or the First World War) can make irrelevant any heretofore dominant average. Any model that does not take these black swans into account is doomed to fail especially as these kind of events happen much more frequently and are much more important in determining stock market moves (or world history if you may) than we presume.

A super interesting argument that came out right before the financial crisis in 2008 and that I cannot say I have read a good argument against so far. Note that especially his (semi-)technical chapters at the end make for a very good read as they are far less anecdotal and thus (ironically and at least for me) far more interesting and easy to read.

Sister Carrie

I had fairly recently read An American Tragedy and picked up Sister Carrie more or less randomly when I was in New York earlier this year. With the latter being Theodore Dreiser's first novel (published in 1900 and thus 25 years earlier than the former) differences abound of course. Dreiser's naturalist and descriptive style - true very much to the novel of the 19th century and not the post-modern style emerging soon with writers such as Joyce or the great Döblin I recently discovered - is the same in both books. It makes for easy reading as it requires little concentration since everything that happens is explicitly spelled out for the reader. 

The subject matter is quite different though, or rather the result of the urban American way of living the author describes is quite different. In both novels a young character tries to make her (his) way in an urban setting. Here it is Sister Carrie trying to get a break on her own first in Chicago then in New York. And that describes aptly the scandal of the novel, on her own. Carrie effectively makes her way from one man to another (not too many really, but still), climbing the social ladder in the process until she is at its top on her own. It is undoubtedly a testament to the radical changing of morals that what feels like a perfectly normal behaviour to me (a woman living with one man, then another, then alone) was considered scandalous, even outrageous, at the time the book came out. To go back to Joyce (or Flannery O'Connor, same thing really) once more, where I as the (post-)modern reader have a hard time understanding their (at times) obsession with religious questions, the same holds true for this barriers breaking novel and its protagonist. In the end I enjoyed reading it but it's inner spirit, its fight, is very much a reflection of the conservative culture of the time, one that I note with mild interest but one that I hardly see reflected in my own life (and, less so, times) anymore.

Extremely Loud and Incredibly Close

The more recent American - New Yorker - literary scene (ok, Jonathan Franzen and Jonathan Safran Foer) never inspired much curiosity in me. I tend to shy away from what people who are too similar - urban born and raised, educated, living in a gentrified neighborhood but pretending to be different from the gentrifiers; Foer wrote an intellectual take on why to be vegetarian for crying out loud - to me both read or write. Yet, for one reason or another I picked up Foer's Extremely Loud and Incredibly Close some time ago and it actually is a really good book.

Foer essentially tells the tale of two generations incapable of dealing with the horrors they had to deal with. On the one hand these are the grand-parents who fled from Nazi Germany without ever managing to truly start a new life in New York, on the other hand is their grand-son who lost his father in the Twin Towers on 9/11. Foer weaves these two tales, which a priori have no connection of course apart from the plight of human suffering, into a coherent total even if they never truly become one, but then maybe that's the point. He combines a sort of naive pseudo-magical realism storytelling through the grandson with letters from various characters sent to one another describing their lives and - for the most part - their failure to overcome their past. The grandparents' lives objectively seen is simply horrifying and that's the life that comes after they have come to their safe haven, the USA.

What's also interesting is how Foer throws in imagery into his text. I am not usually a fan of anything out of an ordinary white page with black writing, but his experiments with individual words or sentences on one page, or the font blending into itself as to become illegible are noteworthy to say the least. I cannot say I needed this kind of innovation but especially his last idea of this kind - consisting of a number of photographs juxtaposed - drives its point home forcefully. The book - obviously - would have been highly recommendable without these also.

Union Atlantic

Adam Haslett might be the best modern, young American writer that I know of. His short story collection You Are Not a Stranger Here was amazing, his first novel Union Atlantic convinced me little based on its cover or the description on its back. Yet, I bought it anyway, based on how much I had enjoyed him before and he truly rewarded me. Haslett includes a slight bit of magical realism in his novel, which tends to irritate me a bit, but notwithstanding this small default Union Atlantic is probably the novel of the US financial (note: not the real economy) crisis that I have read so far. Haslett's book reflects the US constantly at war in the Middle East, the greed of its banks and some of the people working for them, it even includes parts about the difficulty of being a - gay but not limited to that - adolescent. His characters have made good or bad career choices, but most of them are unsatisfied one way or another. His book shows life, period. And it does so without embellishments but poignantly. Highly recommendable.

Chronicles - Volume 1

Arguably one of the most important (Western) artists of the 20th century, Bob Dylan came out with Volume 1 of his Chronicles a few years ago. I had been wanting to read them for a while but life had always intervened, so here almost ten years after they came I finally got around to reading the - German - version. I had never read anything by Dylan before, heard virtually all of his songs at least once, know most of the early ones by heart, but I didn't read any of his earlier attempts at straight out (biographical/literature) writing.

What is Chronicles then? It is not of course a faithful recounting of his (early) life, in fact it sets in for the most part with his arrival in New York with some flashbacks to his time in Minnesota, and thus fits the Dylan legend quite well. Just like in his Theme Time Radio Hour - filled with amazing music for the most part - he constantly name drops great artists and songs most of which I was not only familiar with but whom I for the most part adore myself (Hank Williams, Robert Johnson, Woody Guthrie of course). The most interesting aspect of all these names and songs (and books) might be the ones one wouldn't expect, Dylan seems to be much more read and globally informed than one might have thought. He thus name checks Bertolt Brecht's Dreigroschenoper, Rimbaud, Lord Byron...while also giving voice to the doubt as to what kind of music he recorded in the late 1980s concomitant with Kurtis Blow, NWA and the like.

Dylan hardly tells us anything about his personal life, there is virtually no gossip about his wives, about his many kids, instead much about his cultural origins, the singers he met and worked with before he became Dylan. He also goes on about his musical self-doubts as to the timeliness of his music as seen above already, but also as to his capacity to still produce something he may himself be satisfied with. Thus he mentions at one point that the producer of Oh Mercy was looking for songs such as the ones he had done in the past and yet he (Dylan) simply knew he couldn't deliver anymore.

Finally, and most noticeably maybe is his almost frontal attack of the protest or counter-culture movement he felt he was made the mouthpiece of. I see his point to some extent, he clearly wanted to be seen as an artist not as the exponent of a generation. Yet, at the same time, his early albums especially and this can be heard reflected in many of his early live recordings also, feature songs that were radical in their positioning of the time (and what concerns war and peace still are in the USA even today). It was little surprising then that he was expected to live up to his image as the spokesperson of his generation. 

Even in the German translation I read, Dylan seemingly managed to preserve the staccato of many of his songs as well as the name dropping of his later radio show. Chronciles is not great literature in the sense that Dylan's songs are amazing poetry, but they provide an interesting insight in the self-perception of someone who has to at least be considered among the greatest artists of the 20th century.

The Rum Diary

One of the first solely literature novels I had read in a while, I thoroughly enjoyed Hunter S. Thompson's The Rum Diary. The author tells the story of a group of American journalists living hedonistically in Puerto Rico. Reminiscent of Hemingway or Graham Greene without most of the political or historical interest, it is a journalist's novel. Telling the tale of hard-drinking journalists living it up without knowing where to go, what really to look for what to do. Arguably, the end tries to criticize this kind of lifestyle to some extent - interestingly enough, or sexist enough, it is a woman who pays the ultimate price for it who is incapable of living this life without paying a price. Yet, at the end of the day the novel simply provides a glimpse into this life, nothing more, nothing less.

Lords of Finance

For many years people believed [...] that an economic cataclysm of the magnitude of the Great Depression could only have been the result of mysterious and inexorable tectonic forces that governments were somehow powerless to resist. Contemporaries frequently described the Depression as an economic earthquake, blizzard, maelstrom, deluge. All these metaphors suggested a world confronting a natural disaster for which no single individual or group could be blamed. To the contrary, in this book I maintain that the Great Depression was not some act of God or the result of some deep-rooted contradictions of capitalism but the direct result of a series of misjudgments by economic policy makers, some made back in the 1920s, others after the first crises set in - by any measure the most dramatic sequence of collective blunders ever made by financial officials.

Liaquat Ahamed tells the story of 1929, the Great Depression, and the bankers who broke the world in his Lords of Finance. He focuses extensively on the main financial protagonists of the time (most importantly: Hjalmar Schacht, Benjamin Strong, Montagu Norman, Émile Moreau) as well as their antagonists (mainly: Keynes) in order to recount the policy failures that led from the Paris peace conference in 1919 to German hyperinflation in the 1920s and ultimately to the bust of 1929 and the ensuing global depression. His book is a gripping piece of personalized historical writing.

Most eerily and pertinent for today are undoubtedly the many similarities of the situation in Europe at the moment with what happened at the time. While policy makers clearly have drawn some lessons from the past and the kind of complete societal and economic breakdown of the 1930s has not repeated itself, there are enough worrisome comparisons that still apply. Whereas today the PIIGS owe more than they will be able to pay, at the time it was Germany stuck in the same situation. And while back then it was the strict adherence to the gold standard that worsened the economic situation in the UK, US, and Germany, it is today the Euro, which forces Spain and others through a deflationary, low growth (even recessionary), high unemployment period.

Of course superficially comparable situations will not necessarily result in the same horrifying course of events, but a study of the past makes one also painfully aware of how much of déjà vû the structural monetary and financial problems of the European debt crisis really is.

Young Europe

I've started writing on a blog for a Polish think tank, Instytut Obywatelski, called Young Europe. Here is the introductory piece, and here my first content piece on the lessons of the US Supreme Court for European integration.

Doghouse Roses

Steve Earle is of course one of my most favorite musicians (check here for statistical proof), it was a no-brainer for me to obtain his collection of short stories Doghouse Roses then - if ten years after it had originally come out. As King Kaufman rightly puts it, this really is a songwriter moonlighting as a short story writer and some of his stories are more like songs than anything else. Earle tries to latch onto his songs style and also the kind of crude, working-class modern Southern fiction often times sounds like (Dagoberto Gilb, Larry Brown, or William Gay come to mind). The problem is, he only succeeds at this to some extent. His stories are too simplistic, too much like songs really, too often and the same can be said for his language, which works much better in the starker poetic environment of song-writing than in the prosaic world of fiction-writing. 

 

All in all a must for anybody fascinated by the living legend, activist, and torch-bearer that is Steve Earle, but I am more curious to listen to his next album than to read his second book (a novel) which came out in 2011.

Why Nations Fail

One of the most recently hyped books on the political economy, Why Nations Fail - The Origins of Power, Prosperity, and Poverty by Daron Acemoğlu and James Robinson tries to explain why some nations grow rich while others fail their citizens. Reviews abound (Dan Drezner, William Easterly, Martin Wolf), my addition to these luminaries weighing in would hardly seem to matter at the margins even.

I will try but little then. Robinson and Acemoglu put forward a very interesting argument showcasing how institutions - political and economic ones - determine long-term growth and in that sense are to belie the performance of nations/states. Neither culture, nor religion, nor even geography matter to the same extent and with the same durability and importance as to the authors. It's a very convincing argument devoid of the old cultural, xenophobic, racist, or even geopolitical prejudices. In order to generate and most importantly sustain long-term economic growth countries were in need of inclusive institutions, which the authors juxtapose with the extractive institutions present in far too many African or even Asian or South American states.

In more detail:

Extractive institutions ... have a powerful logic: they can generate some limited prosperity ... while distributing it into the hands of a small elite. For this growth to happen, there must be political centralization. ... The growth generated by extractive institutions is very different in nature from growth created under inclusive institutions ...most important, it is not sustainable. By their very nature extractive institutions do not foster creative destruction and generate at est only a limited amount of technological progress ... [also] strong incentives for others to fight to replace the current elite. Infighting and instability are thus inherent features of extractive institutions. The fear of creative destruction is the main reason why there was no sustained increase in living standards.

The Post-American World

In one of the more hyped books of the political science literature, Fareed Zakaria, explains The Post-American World, which were to follow the United States unipolar moment during the late 20th/early 21st century. For Zakaria this is not so much due to "the decline of America but rather about the rise of the everyone else." The economic success and increasing geopolitical importance of "the rest," the non-Western world, has been "most visible in Asia but it is no longer confined to it" with the rest of the BRICs but also large parts of Africa having made tremendous progress.

Zakaria goes then on to detail to some extent the rise of China and India contrasting their respective economic and political (dis)advantages - democratic governance vs efficient decision-making to sum it up really concisely. His final chapter then deals with the US again and effectively proposes policy but also cultural or societal changes that would help the country, which for the coming decades undoubtedly will remain the major player in a multipolarizing world, adapt to its relative decline in a constructive manner as the UK did in the early 20th century.

While I am very much in agreement with most of what Zakaria puts forward in his book, which I am wary to truly consider part of the political science canon, his argument feels slightly redundant or rather commonplace in today's world. He wrote it in 2007/2008, so maybe he was more of an outlier at the time, yet arguably his stance and book has only become such a modern, classic of political commentary literature because of the American insularity that he decries himself. Essentially, knowledge of other languages, other cultures, other political system, other economic success stories in the US remains astonishingly limited - or is belittled in any case. Movements in the tectonic plates of global power politics are noticed slower than in the US as they are in culturally more internationally aware and open societies. The Post-American World provides little added-value to the politically- and economically-informed reader of news and - non-scientific - analysis.

Notes on Norman Mailer's White Negro

- it is tempting to describe the hipster in psychiatric terms as infantile, but the style of his infantilism is a sign of the times

- the hipster [...] knows that [...] our collective condition is to live with [...] a slow death by conformity with every creative and rebellious instinct stiffled

- one is Hip or one is Square [...] one is a rebel or one conforms, one is a frontiersman in the Wild West of American night life, or else a Square cell, trapped in the totalitarian tissues of American society, doomed willy-nilly to conform if one is to succeed

- it may be fruitful to consider the hipster a philosophical psychopath [...] the psychopath is a rebel without a cause, an agitator without a slogan, a revolutionary without a program: in other words, his rebelliousness is aimed to achieve goals satisfactory to himself alone

- many hipsters are bisexual

- it is not granted to the hipster to grow old gracefully

- if the liberal should prove realistic in his belief that there is peaceful room for every tendency in American life, then Hip would end by being absorbed as a colorful figure in the tapestry

Norman Mailer - The White Negro (1957)

Chien blanc

Un français qui voyage aux Etats-Unis et les expliquent à ses contemporains français voire européens. Quoi de neuf? Ce n'est ni Crèvecoeur, ni Tocqueville mais une version littéraire de la vie de Romain Gary et son épouse Jean Seberg entre LA et Paris en 1968. Le Chien blanc du titre fait référence à un chien dressé contre les noirs qui leur tombe dans les mains et qui l'auteur/le personnage principal veut faire guérir avec l'aide d'un dresseur d'animaux noir. Gary (l'auteur) démontre bien le racisme des blacks autant que des blancs dans son livre au même temps qu'il y voit la futilité d'une lutte où les blacks se sentent américains sans de le s'admettre tout à fait.

Un livre qui bouge (saute?) entre la vie familiale de Gary, le civil rights movement, la bataille de rue à Paris en 68, et plusieurs individus sur les différents côtés.Ce mélange est son forte mais aussi son faiblesse. Parfois le récit faisait l'impression de manquer de cohérence mais au même temps quelques descriptions font une forte impression sur le lecteur (voire moi) par exemple un leader militant des noirs Afro-Américain 'Red' dont un fils à déserté l'armée, l'autre y fait carrière ou la scène où Gary et un co-resistant dessinent des slogans de leur jeunesse (sur l'Espagne et des autres sujets) sur un mur dans le Paris révolté de 68.

All the Pretty Horses

Cormac McCarthy's books were one of those too popular with hip people items I ignored during my school and university days - which I guess makes me a hipster really, except that I take care not to be hip enough to be a hipster, so where ever that leaves me. In this case I was terribly wrong. All the Pretty Horses easily was one of the better books I have recently read. McCarthy portrays a 16-year old boys quest for a life in the past, leading him and a friend on horseback into Mexico, in their backs a much more modernized United States. The novel is heavily populated with characters such as him - Faulknerian I would say or maybe simply human? - who act in a certain way not so much because they should or even - sometimes - want to, but because they simply have to and the consequences of these actions are nothing but an accepted byproduct. A beautiful novel about a man's (boy's) essential loneliness, his incapacity to fit in his own world, and his attempts to lead the kind of life he wants elsewhere.

Rappen lernen

Rappen lernen von Mark Greif ist ein kurzweiliges kleines Heftlein, in welchem der weiße Autor seine späte Bekehrung zum Hip Hop erläutert, welche er durch den Versuch Rappen zu lernen zum Ausdruck brachte. Greif sieht Rap als ultimative Individualisierung, Kapitalisierung der schwarzen Minderheit, welche Gedanken kollektiven Aufstiegs (à la Booker T Washington) aufgegeben hat und sich auf seinen eigenen Wohlgang konzentriert. Rapmusik ist für ihn eine Art Fortsetzung des Crackdealens der 80er Jahre mit anderen Mitteln. I'm overcharging niggas for what they did to the Cold Crush. Pay us like you owe us for all the years that you hoed us. We can talk, but money talks, so talk mo' bucks. Rappen lernen ist wirklich eine Liebeserklärung an eine Musikrichtung, die auch ich als weißer Europäer (fast) zu spät schätzen lernte, in der Greif aber auch versucht sich der Frage zu nähern, warum (amerikanischen) Weißen seiner Generation der Zugang zu der Musik so schwierig war (ein Stichwort: das Wort Nigger). Wirklich lohnenswert.