Erotics of Interpretation

I reread Susan Sontag’s “Against Interpretation” yesterday. Amusing and challenging at turns, the essay calls for an erotics of art in the final sentence, rebuking the need for analysis—interpretation—of what art really means. But how can we proceed with this sensual understanding of art? How can we write about it?

Modernism was plagued by form cut away from content, leaving open how exactly any given piece of art fit against our expectations, the semantic churn of meanings that we want to apply to a work of art. There must be a framework but the depth of analysis is really what Sontag is questioning. Take the examples she gives, like Auerbach’s The Scar of Odysseus. In it, we are scanning around a particular event in The Odyssey, namely the recognition of a scar on Odysseus’s thigh. The author asks us to understand how Homer uses the scar as a focus in the verses, then takes us back to the events in his youth when he was injured. The narrative form is then contrasted and compared with the Old Testament, which might have been compiled around the same time frame as Homer’s work. But what might rise to erotics rather than interpretation? Take the following:

The separate elements of a phenomenon are most clearly placed in relation to one another; a large number of conjunctions, adverbs, particles, and other syntactical tools, all clearly circumscribed and delicately differentiated in meaning, delimit persons, things, and portions of incidents in respect to one another, and at the same time bring them together in a continuous and ever flexible connection; like the separate phenomena themselves, their relationships—their temporal, local, causal, final, consecutive, comparative, concessive, antithetical, and conditional limitations—are brought to light in perfect fullness; so that a continuous rhythmic procession of phenomena passes by, and never is there a form left fragmentary or half-illuminated, never a lacuna, never a gap, never a glimpse of unplumbed depths.

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Gimmicky Nonfictional Fictional Futures

Salman Rushdie’s new collection of essays, The Language of Truth, begins with an ecstatic celebration of the magical tales of old worlds—wonder tales as he would have it. As the foremost magical realist of the East in the West, Rushdie has thrived on collecting his own dreams against the literary trends of the times (realism/formalism/transgressivism/whateverism). Sage advice from a master: “Don’t write what you know unless it is really interesting” or just dream better dreams. Having myself drifted away from reading fiction in recent years (a known trend in the publishing industry) and towards more and more detailed nonfiction, from the mind-control capabilities of cat shit to the mathematical learning algorithms embedded in the universe, I am certainly guilty of exactly what Rushdie rails against (a damned philistine of sorts), though I am equally skeptical of the Knausgård-style auto-fiction that is recently idealized as a contemporary answer to the vexing question of what new literary hell we deserve.

Still, magical realism or Rushdie-an wonder tales are essentially gimmicks for conveying sometimes lofty (say the shaping of thinking by modernity in Gabriel García Márquez or the effects of colonialism in Rushdie’s own works; Devapriya Roy suggests all “global novels,” which is code for New York/American, are idealizations of liberalism that work towards world peace in some suffused sensibility), but also often trivial observations about ancient human traditions. Calling this a cornerstone of truth begs a deeper question about what truths are being exposed. Is it this universality of the desire for power or the vanity of men and women? Is it the threat imposed by female eroticism to the stability of society? Rushdie likes to think these are answered by these olden forms but a most modern mind begs for explanations of a different sort when trying to map them to our most modern experience of society.… Read the rest

Word Salad Wednesday: Ergodic Cybernetic Textuality and Games

Salad with catsWell the title is a mouthful, yet it relates to an article in The Guardian concerning the literary significance of role-playing games. Norway’s Aarseth coined the term “ergodic” to describe literary systems that evolve according to the choices of the reader/player.

First, this is just incorrect. Ergodic has a very specific meaning in thermodynamics. Ergodic means that the temporal evolution of a system will be random and irreversible. Aarseth takes the Greek meanings too literally choosing to equate the ergo (work) and hodos (path) with the temporal evolution of hypertexts (where one chooses the next step) or RPGs (where players choose the next steps but there may be random decisions dictated by dice roles). He also likes the term “cybernetic” which was literally “pilot” and was given its modern meaning by Norbert Weiner wherein it refers to autonomous control of a system to stabilize against environmental signals.

Neither of these relate to RPGs or hypertext per se, nor to the general class of reader/engager-based control of media access or fiction. The concept of generative art might be more apt, though it should be modified to include the guidance of the reader. Oddly, guided evolution or change might be the best metaphor altogether leading us to something like Lamarkian Literature (though that is too culturally loaded, perhaps).

Or we could just say “games.” After all, these are games, aren’t they?… Read the rest

The Great Crustacean

little-lobster-costumeDavid Foster Wallace’s Joseph Frank’s Dostoevsky in Consider the Lobster is worth reading for nothing else than the following two paragraphs:

The big thing that makes Dostoevsky invaluable for American readers and writers is that he appears to possess degrees of passion, conviction, and engagement with deep moral issues that we—here, today—cannot or do not permit ourselves. Joseph Frank does an admirable job of tracing out the interplay of factors that made this engagement possible—[Dostoevsky]’s own beliefs and talents, the ideological and aesthetic climates of his day, etc. Upon his finishing Frank’s books, though, I think that any serious American reader/writer will find himself driven to think hard about what exactly it is that makes many of the novelists of our own place and time look so thematically shallow and lightweight, so morally impoverished, in comparison to Gogol or Dostoevsky (or even to lesser lights like Lermontov and Turgenev). Frank’s bio prompts us to ask ourselves why we seem to require of our art an ironic distance from deep convictions or desperate questions, so that contemporary writers have to either make jokes of them or else try to work them in under cover of some formal trick like intertextual quotation or incongruous juxtaposition, sticking the really urgent stuff inside asterisks as part of some multivalent defamiliarization-flourish or some such shit.

Part of the explanation for our own lit’s thematic poverty obviously includes our century and situation. The good old modernists, among their other accomplishments, elevated aesthetics to the level of ethics—maybe even metaphysics—and Serious Novels after Joyce tend to be valued and studied mainly for their formal ingenuity. Such is the modernist legacy that we now presume as a matter of course that “serious” literature will be aesthetically distanced from real lived life.

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Mimetic Persuasion

There is a temptation to be dismissive of “genre fiction” as being merely a fantastical diversion while “serious fiction” and, more relevantly, “realism” retain all of the gravitas that we want to ascribe to writing as an art. And realism must be somehow tied to everyday events because it must be realistic. But what if all art is inevitably bound to artifice in that there is no possibility of chaining a symbolic reference to its ostensible referent?

Thus we chain the crumbling infrastructure of logical positivism to postmodern literature. It is all artifice. There is always a black swan. It is all “mimetic persuasion” (Aristotle channeled through James Wood) where storms of metaphor haloed by limns of allusion and imitation conspire together to push the reader into a caricature of reality that “art…is a disproportioning–(i.e., distorting, throwing out of proportions)–of realities, to show more clearly the features that matter in those realities…” (Thomas Hardy). There is no reality in realism, just the font of imagination that tries to crystallize reality into regularized sheer planes of repetition, of character leitmotivs (oh, poor Proust), of voice, of metaphor, and of estrangement (from Dostoevsky to Nabokov).

We have, then, a bad theory in any scientific sense, where the theory has been overridden time and time again, making psychology look comparatively moored in its modest aspirations. At least psychology is converging with biology. But realism remains subdivided across the aesthetics of literary preference. It lives in fiefs and forts, much like architecture or modern art in general. There is not even local predictability to the grammar of aesthetic change. It may be that theory is not even the right word. Literary theory should be replaced with literary analysis and aesthetics should be untied from the dock of rationalism.… Read the rest

AntiTerran Metatextuality

Intertextuality is a loaded word. It covers allusion and parody and reference. For some authors, it is the motivation to write, from Umberto Eco’s semiotic indulgences to Nabokov’s vast, layered palimpsest in Ada. I create deliberate allusions to Genesis in Teleology and references to Nabokov’s Ada in Signals and Noise.

The opposite of intertextuality might be centrality or concreteness, but it might also be the extension of the literature or artwork as references in other works that extend or reimagine the original work, creating a literary chain of sorts. Your intertextual references are referenced by my metatextual extensions.  Outertextuality? Whatever the term, we get a kind of referential landscape like a network that builds on an artificial landscape, the lives of imagined characters, and the universe of ideas that they inhabit.

Dieter Zimmer, who appears to have done the German translation of Ada, has a brilliant example of metatextuality in his Geography of AntiTerra. With methodical precision, he translates the textual descriptions into a map of the imagined world–a kind of fan cartography that solidifies the strange geography into a complete realization. I’m reminded of the Elven dictionaries in The Silmarillion or the detailed online fan fiction from adoring readers of current bestsellers.

I think there is likely a strong connection between the psychology of religious belief and the same motivators towards metatextuality. Imagined worlds are always interesting and plotted. Even when characters are harmed or injured, we feel only fleeting sensitivity to the idea of their injury. Moreover, the intertextuality is a network of coherence-supplying support for the narrative’s epistemology. The more detail, the greater sense of clarity of the imagined world, and the more buy in as to the reality of mysteries described therein.… Read the rest