All in all, this was a very good and informative read. Although, like many other readers of the Dutch edition, I was a little dismayed to find that thAll in all, this was a very good and informative read. Although, like many other readers of the Dutch edition, I was a little dismayed to find that the Benjamin-related episode is merely a vignette in the broader narrative. My wife and I walked the Chemin Walter Benjamin last year, so it was easy to imagine the setting in which Fittko's clandestine activities to guide refugees out of Vichy France took place. What is striking about this story is the amazing resourcefulness of the people who put their lives on the line against the fascist forces that were so destructively sweeping across Europe. Something to ponder in the current context.
[image] Photo taken along the Chemin WB, 2023...more
I only read the second half of the book, starting with Benjamin's exile from Germany in 1933. A pleasure to read and very helpful in the way it tracesI only read the second half of the book, starting with Benjamin's exile from Germany in 1933. A pleasure to read and very helpful in the way it traces the development of the late thinking. Not a linear development in any way. Anthony Auerbach pointedly characterised Benjamin's legacy as presenting "an image in which a construction site seems to merge with a ruin". So rather a sedimentation, or a constellation of all sorts of ideas around, perhaps, the nodal chimaera of the 'dialectial image'. Which is the conceptual beacon that I will rely on, for the time being, in my ongoing Benjamin explorations.
This book has just been published. I browsed it in the shop but didn't buy it. It contains a series of environmental portraits of elderly women who spThis book has just been published. I browsed it in the shop but didn't buy it. It contains a series of environmental portraits of elderly women who spent their lives as 'peasants' in rural areas all over France. Their lives weren't all that different from what a woman would have experienced a few hundred years ago. Obviously a way of life that is fast disappearing. The pictures were taken by Paris-based documenary photographer Alexis Vettoretti with a 4x5 inch view camera. The colours and textures are gorgeous and show how ravishing film-based photography still is. However, from a compositional point of view, the photographer has made a disconcerting choice that has kept me from buying the book: the women are presented in what is neither a full-length portrait nor a three-quarter portrait (from head to mid-thigh), but what I must describe as a 'full-length minus feet' portrait. I found this rather disconcerting. It gives the image a very unbalanced feel, especially as there is always plenty of space in the frame above the subject's head. The portraits are complemented by unobtrusive landscape shots and short, telegraphic accounts of each subject's life. The book as a whole is tastefully produced, with an accompanying text by novelist Marie-Hélène Lafon integrated as a neat folio. All in all certainly a worthwhile project, but you'll have to head over to the photographer's website to check whether you can live with his compositional choices.
Dit soort van boek vind je alleen in een boekhandel. Een online aanbevelingsalgoritme gaat hier naar mijn gevoel gewoon aan voorbij. Maar ik was eerdeDit soort van boek vind je alleen in een boekhandel. Een online aanbevelingsalgoritme gaat hier naar mijn gevoel gewoon aan voorbij. Maar ik was eerder al op Bart van Rosmalens proefschrift Muzische professionalisering. Publieke waarden in professioneel handelen gestoten. Daardoor lichtte dit boek op in mijn blikveld temidden van het woekerende aanbod bij Boekhandel Tribune in Maastricht. Van Rosmalens onderzoek heeft mijn woordenschat aangerijkt met een woord - 'muzisch' - dat ik sindsdien treffend (denk ik) heb weten in te zetten. Het 'muzische' is voor van Rosmalen een handelingsrepertoire dat het vertellende, spelende en makende omvat en waarmee een zekere morele draagwijdte en pedagogisch gezag is verbonden. Door het cultiveren van een muzische sensibiliteit en houding kunnen mensen, ttz. 'professionals', een praktijk ontwikkelen die authentieker is en meer betrokken op de andere (of het andere). Met een muzische houding hangt vanzelf ook een zekere porositeit ten opzicht van anderen en de wereld samen. Het is op dat gegeven dat Van Rosmalen in dit boek verder borduurt.
Het is een ietwat eigendaardig boek. Geen academisch werk, maar een hoogstpersoonlijke mozaïek van korte hoofdstukken, die elk weer uiteenvallen in paragrafen die niet noodzakelijk lineair op elkaar aansluiten. De schrijftrant is me niet geheel sympathiek. Bij momenten komt het mij wat te vlot 'Hollands' over. (De auteur is zich daarvan bewust want ergens bekent hij dat altijd al heeft kunnen "lullen als Brugman".) Daar heb ik als gereserveerde Vlaming moeite mee. Maar van Rosmalen heeft iets belangrijks te zeggen. En sommige hoofdstukken zijn werkelijk ingetogen en doordringend gesteld. Ik heb dus geen moeite om het boek in zijn geheel vijf sterren te geven.
Waar gaat het over? Ik zie drie hoofdlijnen in het verbrokkelde narratief: een conceptualiserende, een reflexieve en een autobiografische. In de eerste probeert de auteur de notie van ontvankelijkheid te duiden, in de tweede gaat het vooral over hoe die ontvankelijkheid zich manifesteert in zijn roeping en praktijk als musicus, en in de laatste gaat het om sleutelmomenten en ontmoetingen waarin die ontvankelijkheid zich op één of andere manier, soms heel efemeer, ontvouwt.
Het boek is opgebouwd uit drie genummerde maar ongetitelde secties. In het eerste deel overheerst enigzins het conceptuele; het tweede deel gaat diep in op van Rosmalens relatie met de muziek, en het derde deel heeft iets afscheidnemend-elegisch (al vind ik het voorlaatste hoofdstukje - 'Verwoesting' - daarin een echte dissonant; wellicht zo bedoeld, maar de logica ontsnapt me.).
Ik wil in mijn bespreking kort ingaan op de begrippelijke duiding van ontvankelijkheid. Waarbij volledigheidshalve moet aangegeven worden dat de auteur zelf veel voorbehoud heeft bij een 'naakte' conceptualisering. Wordt de ervaring van ontvankelijkheid daardoor niet kapot gemaakt? Wat hij al helemaal wil vermijden is dat het een praktijk is die zou begrepen worden als een 'heilsweg', als een oplossing voor een probleem. Dat voorbehoud verklaart ook de zoekende, indirecte toon en vorm van het boek.
Tot een definitie komt het dus niet, maar het wordt wel duidelijk dat er twee kanten zijn aan ontvankelijkheid: een meegevende en een scheppende. Als ik ontvankelijk ben, dan ben ik open. Die 'vatbaarheid voor indrukken' is echter ook een 'vat-baar' zijn, dus een vormgevende dispositie. Voorbij deze psychologisch-performatieve dimensie komt ook een epistemologische horizon in beeld omdat ontvankelijkheid ten gronde verbonden is met het 'niet weten'. Het gaat over het ontwikkelen van een innerlijk kompas voor het handelen in een wereld die gekenmerkt wordt door een weerbarstige onzekerheid. In zekere zin staat ontvankelijkheid haaks op het instrumentaliserende weten dat zo kenmerkend is voor onze westerse cultuur. En tot slot heeft ontvankelijkheid wellicht ook een metafysische grond. In die zin dat ze een reflectie is van een gewaarwording van en respect voor een onderliggende, onzichtbare orde. Van Rosmalen maakt regelmatig allusie op de ontologisch-spirituele draagwijdte van onze bereidheid om ons over te geven aan de ervaring van het ontvankelijke. Dan komt hij naar mijn gevoel dicht bij een Romantische dispositie. Want in wat de vroege romantici 'poëzie' noemden, zit naar mijn gevoel die ontvankelijkheid ingesloten. En zo komen we weer bij het actieve, vormgevende principe, want de poëzie van de romantici gaat niet over een literair genre, maar over een vermogen tot 'poiesis', tot scheppend in de wereld staan, in resonantie met de generatieve krachten die daar in werkzaam zijn. Van Rosmalen: " Mij treft in ontvankelijkheid dat het veelvoudige opengaat en het levende dat overal inzit voelbaar wordt." Tot slot is ontvankelijkheid ook gelardeerd met verbondenheid en dat volgt in feite heel natuurlijk uit hetgeen hier al aangestipt is.
Het is heel lastig om in een enkele paragraaf recht te doen aan wat van Rosmalen met dit boek wil zeggen. Heel veel zit ingesloten in de halve stiltes en felle uithalen die het boek zo'n eigenzinnig ritme geven. Ons begrip van ontvankelijkheid wordt door die schrijftrant mee ingekleurd en in die zin zou je het boek zelfs romanesk kunnen noemen. De auteur gaat spaarzaam om met literaire referenties maar één daarvan heeft me wel getroffen. Het is een laat gedicht van Rilke dat naar mijn gevoel veel vat van wat van Rosmalen wil zeggen:
Zolang je eigen worpen vangt, is alles / behendigheid en alle winst vergeefs -; / pas als je plotsklaps vanger wordt van de bal / die een eeuwige medespeelster / je toewierp, in jouw midden, met een precieze / knappe curve, met één van die bogen / uit Gods grote bruggenbouw: / pas dan is kunnen-vangen een vermogen, - / niet van jou, van een wereld....more
Two narrative strands are interwoven here, one seen through the eyes and mind of John Dee, the 16th century magus, and another set in contemporary LonTwo narrative strands are interwoven here, one seen through the eyes and mind of John Dee, the 16th century magus, and another set in contemporary London and linked to a private residence owned by Dee more than 400 years earlier. I suspect that what holds these two strands together is their parallelism when viewed through the lens of the alchemical concept of transformation, with its sequence of nigredo, albedo and rubedo stages. Ackroyd has both protagonists - the fiery Dee and his hapless contemporary counterpart, Matthew - work through the nigredo stage of their personal transformation, in which they are forcefully invited to confront themselves and the attachments of their ego. It's a metaphorical ritual of fire, a prerequisite for building a more whole and genuine self and, for Dee, for gaining access to the real, deeper truths that underpin the universe.
The book feels unbalanced in the sense that in the magus's case we get a glimpse of the blissful state he is working towards, guided by the spirit of his departed wife. The philosopher's stone is not a thing, but a disposition "to see the world with love". Matthew's transformation is more tentative, I think, unless there's a clue I missed in the final sentence of the last section devoted to his story. Ackroyd is a formidable prose writer and there are moments, particularly those relating to Dee's side of the story, that are ravishing in their ability to conjure up the mind and world of a learned and ambitious Renaissance figure. To be sure, Dee's story is not historically faithful to the extant biographical data. I believe that Ackroyd was not interested in historical accuracy but in psychological plausibility. In this sense, the sections devoted to Dee's complex relationship with Edward Kelly are revealing indeed. 3,5*...more
Een mooie, rijk geïllustreerde uitgave van de kleine uitgeverij ElenA, bestierd door Mechelaar en Hasselblad-liefhebber Luc Van Hoeylandt. Auteur LodeEen mooie, rijk geïllustreerde uitgave van de kleine uitgeverij ElenA, bestierd door Mechelaar en Hasselblad-liefhebber Luc Van Hoeylandt. Auteur Lode Melis is het gewoon om voor een jeugdig publiek te schrijven en dat merk je aan de badinerende toon waarin het boek gesteld is. Dat vraagt wat extra inspanning van een lezer die het gewoon is om zich te verdiepen in meer doorwrochte, academische lectuur. Het was wat mij betreft wel de moeite. Melis biedt een facettenrijk beeld van deze controversiële Renaissance figuur. En passant kreeg ik ook veel mee over de historische context in Elizabethaans Engeland en op het Europese vasteland. Het blijft wel moeilijk om ons, pakweg vierhonderdvijftig jaar na datum, in te leven in de geest van de gedifferentieerde magische praktijk die zich toen in Renaissancistisch Europa ontwikkelde als een syncretistisch amalgaam van hermetisme, neoplatonisme, neopythagorisme, kabbala, middeleeuwse tovenarij, alchemie en astrologie. Wat moeten wij in godsnaam maken van Dee's obsessieve hang naar 'engelengesprekken'? Wij vallen dan terug op neurologische, psychologische of psychopathologische verklaringen om die 'irrationaliteit' te naturaliseren. Maar het lijkt mij dat Dee's in onze ogen bizarre en naïeve gedrag ook als 'rationeel' kan gezien worden. Dee was een gedreven onderzoeker die een zeer gesofistikeerde 'verbeeldingspraktijk' ontwikkelde om kennis over de laatste grond der dingen te ontwikkelen. Archiefonderzoek, observatie van de natuur, analytische reflectie, alchemistische experimenten en mediumistische technieken maakten integraal deel uit van zijn onderzoeksaanpak. Swedenborg deed hetzelfde, zelfs meer dan honderd jaar later. Zo vreemd is dat toch allemaal niet. We moeten ook toegeven dat de inspanningen van die magi soms tot fascinerende inzichten leidden die hun tijd vooruit waren en later conceptueel of praktisch konden gevaloriseerd worden. Indrukwekkend is ook hoe deze 'polymaths' hun invloed deden gelden op zoveel domeinen van het maatschappelijk leven. Dee en zijn collega's schenen hun licht op kwesties die ver voorbij hun 'community of interest' gingen en beslissingen op het vlak van bestuur, diplomatie, economie en infrastructuur direct beïnvloedden. Daarbij probeerden ze wel in de gunst te komen van mogelijke sponsoren, en uit de greep te blijven van religieuze pilaarbijters, wat de geest van hun onderzoeksproject soms compromitteerde. Interessant en bewonderenswaardig is ook de oecumenische impuls achter het werk van Dee, en anderen, tegen de achtergrond van het virulente godsdientconflict dat zich als een olievlek over Europa had uitgespreid. Boeiende lectuur. 3,5 *...more
"What sludge in the human heart must we confront in me, in you, in us, if there is to be an evolutionary, developmental transformation in how women an"What sludge in the human heart must we confront in me, in you, in us, if there is to be an evolutionary, developmental transformation in how women and men relate, whereby power is subordinated to love and love to inquiry?" -- Hilary Bradbury and Bill Torbert
This is a very unusual book. And a very brave one. Two mature, distinguished academics lay bare their experiences of intimate, sometimes sexual, inter-gender relationships across the full arc of their lives. The result is a human-all-too-human picture, full of slip-ups, dead ends and blind spots as well as moments of profound beauty and intimacy. Why on earth would they do that? Their aim is to inquire into the potential of intimate relationships "for mutually supportive, ongoing exploratory quest(ioning), with the potential to heal, transcend, and transform tired patterns of relating between women and men" (cited from the foreword by Patricia Gaya). In their own words, Bradbury and Torbert are interested in gaining a better understanding of how "to practice inquiry in relationship where eros and power intersect, that very place where hurts and disappointments are most keenly felt." It is worth noting that the gender-based framing needs to be nuanced. It is less about women and men than about "the feminine and the masculine that embodies us in different measure". Also, 'eros' is pure desire, a life force and a fount of creative impulses. Within the context of inter-gender friendships it expresses itself in a passionate register, in a forceful surging toward one another, in a desire to become more intimate. The key question is then how to turn this impulse into an opportunity for loving mutuality and synergetic growth.
The matter is certainly relevant for practitioners who are engaged in facilitating and supporting processes of inquiry in an organisational context. Because, whether we seek them out or not, it is in these settings that we run the risk of meeting people with whom we have a special affinity. My phrasing in terms of 'risk' makes these encounters sound like a liability. Potentially they are, certainly in our times when inter-gender relationships are seeking a new, mutually satisfying equilibrium. However, the authors of this book want to maximise the potential for celebration of these delicate relationships as 'containers of transformation'. And this requires that we become very adept at recognising our own desires, needs and behaviours as well as those of our counterpart and other people who are very close to us. When we are ready to engage at that level then the relationship becomes a process of relational action inquiry. The latent conflict between eros and power flips from being a source of misunderstandings and energy blockages to Eros/Power, a "revitalizing experience of intersubjective flow that occurs when love and power conjoin through inquiry in the midst of relating between persons". Is there anything more satisfying and beautiful than to grow into and become part of these kinds of generative patterns? I have framed this now as matter of interest for professionals who are engaged in processes of organisational learning and change. But of course all intimate friendships, including those that are anchored in personal life, have the potential to be a container of transformation. So this book is potentially valuable for a very wide readership.
The exploration is considerably enriched by the integration of a developmental theory about how humans can transform during a lifetime through eight 'action-logics', or developmental stages or patterns of interpreting and acting in the world. This body of knowledge and practice was an important part of Bill Torbert's professional and academic legacy, which has been more widely publicised elsewhere under the rubric of 'Action Inquiry'. The authors filter their experiences at the intersection of eros and power through the lens of this developmental framework. There is an overal pattern of growth, as they mature in their relationships, to 'higher' action-logics. But as the story unfolds we also start to appreciate the fragility of behavioural patterns at these more advanced stages. The risk of a relapse into older, atavistic patterns is always there.
Another persistent theme that runs through the narrative is the age-old and still operative power asymmetry between men and women. This is a lamentable fact and a deep trauma, and therefore an almost inexhaustible source of guilt and resentment. In my opinion, the protagonists in this experiment of relational inquiry have not been able to fully transmute this wound. The guilt and resentment still echo through its pages. And could it be otherwise?
I refrain from articulating my own feelings of sympathy or discomfort in relation to the two-voiced narrative that uncoils in alternativing sections and chapters of the book. Both Bill and Hilary are good, sharp narrators, but their tone of voice and angle differs. I learn a lot from both, but perhaps inevitably (?), it is for me easier to identify with Bill's perspective. I really do appreciate his candidness and wisdom a lot. But the tentative question mark indicates that there is a issue here for me that deserves to be further explored....more
I read this years ago and forgot to note down my impressions. I remember liking it much more than Hotel Andromeda by the same author. Admittedly the sI read this years ago and forgot to note down my impressions. I remember liking it much more than Hotel Andromeda by the same author. Admittedly the style is somewhat repetitive and pedantic. However, when I revisited my ebook highlights and bypassed the novelistic padding, I found a clear artistic credo that weaves together many motifs from the past two and a half centuries of cultural history.
"The idea of the wave, he said to me once, as we were driving again, is the idea of life itself. That is what Heraclitus meant, he said, when he said that when I step into a river I do not step into the river and it is not me that steps into it. To write music that is and is not static, that is and is not in motion, that both sounds and is silent, that goes inwards and that goes backwards and that does not go anywhere at all, that is the idea, he said, that is what I have tried to do for the past thirty years. I did not wish to write music that was profound, he said. I did not wish to write music that was beautiful. I did not wish to write music that would make audiences clap and agents come rushing up to me to sign me up to go to this festival or that festival. I wanted to write music that was true. True to our earth. True to our planet. And if it is true it will be frightening. It does not have to be loud to be frightening, he said." ...more
I have enormous respect for Raymond Depardon, as he is the author of Errance, one of my favourite photo essays of all time. Paris Journal was publisheI have enormous respect for Raymond Depardon, as he is the author of Errance, one of my favourite photo essays of all time. Paris Journal was published around the same time in the early 2000s. While Errance saw the light of day as a tiny paperback on sale for less than 10 euros, the Journal is a 500-page hardcover behemoth. I wish it had been the other way around. Or maybe not. For me, Errance feels like a breviary, with its diminutive size and visual rigour encapsulated in its wide-angle, black-and-white, upright images (all taken with the fabled Alpa SW12 6x9 camera). Paris Journal is much more loosely woven, with images spanning 30 years. Compared to Errance, the feel is more intimate and haphazard, with motifs and textures often jumping from page to page. Short text inserts trace the arc of the photographer's relationship with the French capital, his professional base and the focus of his social network. Most, but not all, of the images are of Paris, or taken in Paris. For the most part, the images have a mundane quality. They don't stand out as artistic images, but as fleeting, cinematographic vignettes of a life lived in the metropolis. This modesty and fluidity gives the book an attractive diary-like quality. I wish I had bought it in the paperback version rather than the angular hardback, the monumentality of which does not sit well with the modesty of the book's ambitions. In Errance, the photographer gives no indication of where the images were taken. In the last hundred pages of Paris Journal, however, there are several references to the travels that underpinned Errance, with references to trips to Algeria, Chad and Patagonia. In this sense, the larger book acts as a useful footnote to the pocket....more
There are some really nice bits here and there, but the whole thing crumbles under the unconvincing pose of the 'heroic loser'. Frames of a draughty aThere are some really nice bits here and there, but the whole thing crumbles under the unconvincing pose of the 'heroic loser'. Frames of a draughty apartment, a freezing cold writing shed, a shrinkwrapped chicken skidding over a rain soaked London road, ready to be crushed by a passing car ... Then the camera pans to a hand that signs film deals and collects literary prizes. It's all rather questionable....more
This bilingual publication from Munich's Städtische Galerie im Lenbachhaus, edited by curators Sarah Louisa Henn and Matthias Mühling, is a delightfulThis bilingual publication from Munich's Städtische Galerie im Lenbachhaus, edited by curators Sarah Louisa Henn and Matthias Mühling, is a delightful volume. The book focuses on the European and North African travels of Wassily Kandinsky and Gabrielle Münter between 1902 and 1908, so before the expressionist period of Der Blaue Reiter. Münter was in her twenties and Kandinsky was about ten years older. They lived and travelled together as an unmarried couple, while Kandinsky was still in a marital relationship with his cousin Ania Chimiakin. The locations covered are roughly on a north-south axis running from Amsterdam to Tunis. Much of the work from these nomadic years - photographs, crayon sketches and oil studies - was done outdoors with a light, portable kit (hence the book's title). The crayon sketches are true-to-life, the oil sketches have an impressionistic bent. The book suggests different narratives of transition at a time when technology, tourism, media, colonialism, gender relations and artistic techniques were in flux. The short essays that introduce each section situate the artists' work, relationships and evolving sensibilities. There are critical reflections on the extent to which their utopian aspirations clashed with their bourgeois and colonial gaze. The book is meticulously produced, with superb facsimile reproductions of sketchbooks and contemporaneous travel guides, luminous renditions of oil sketches and very clear photographic prints from the original negatives. The clean and fluid layout (by Herburg Weiland) heightens the appeal of this publication.
[image] Wassily Kandinsky - Kallmünz - Gabriele Münter beim Malen II. Sommer 1903...more
I found this a pretty good primer on the music and life of Alfred Schnittke. The book was included in Phaidon's 20th Century Composers series, publishI found this a pretty good primer on the music and life of Alfred Schnittke. The book was included in Phaidon's 20th Century Composers series, published in the 1990s and now discontinued. These are accessible and attractively presented introductions, with a stylish layout that has stood the test of time, and plenty of illustrations to lighten the text. At the back of the book is a useful list of works, suggestions for further reading, a selective discography and a relatively fine-grained index. Exactly what you would expect from this type of book. Predictably, detailed discussions of individual works are not to be be found. Caveat: the book was published in 1996, two years for the composer's death. As a result the list of works is not complete (the Ninth Symphony, amongst others is not included). Also the discography is somewhat outdated (although the bulk of recordings still in the catalogue of the BIS and Chandos labels was recorded before the publication date).
Beyond the biographical narrative, I am interested in better understanding the artistic ethos of a composer and the fundamental driving forces behind his work. This is where Alexander Ivashkin delivers, up to a point. Ivashkin was an intimate of the composer and well acquainted with the social and professional conditions in which Schnittke worked. All this is particularly relevant given the very particular setting of post-war Soviet totalitarianism and Schnittke's distinctive hybrid Germanic-Slavic background. As a performing artist, Ivashkin had a good understanding of Schnittke's working methods both in and out of the concert hall. (A potential drawback of this close relationship between biographer and subject is the lack of distance. Ivashkin is certainly not impartial. He could be accused of a certain amount of idolatry.)
Ivashkin is able to make a concise but relatively convincing case for the marked stylistic shifts in the composer's output: from the early experiments with serialism, through fractured polystylism and a more compact, almost classically argumentative style, to the rigour of the late works. Schnittke's music resonates with a strong extra-musical meaning. It also suggests depth and a spiritual quality. Ivashkin argues that Schnittke was first and foremost driven by a dramaturgical instinct that breaks the bounds of any attempt to squeeze the music into a sonic architecture that reflects a strictly formal logic. Extrapolating from what Ivashkin writes, I hypothesise that Schnittke sought to tap into what the Islamic scholar Henri Corbin has called the 'imaginal world', a 'middle world' that exists between the material and spiritual realms and where spiritual truths are revealed through archetypes and symbols. Ivashkin: "A composer, in Schnittke's opinion, should be a medium and a sensor whose task is to remember what he hears - namely music, from 'somewhere else' - and whose mind acts only as a translator. Music comes from a kind of 'divine' rather than 'human' realm."
One doesn't have to buy into this esoteric-religious frame to sense the pertinence of the assertion that a kind of symbolic grammar is encoded in this music, which has emerged from a deep fusion of Central European and Russian musical traditions, an abiding interest in myth and early Christian culture, and a great sensitivity to the grand sweep of history and shifting human affairs.
[image] Alfred Schnittke in the 1970s. Source of image: unknown....more
Undoubtedly, Richard Holmes's monumental biography of Coleridge stood out as the highlight of my reading year. Delving into this sprawling tale, brimmUndoubtedly, Richard Holmes's monumental biography of Coleridge stood out as the highlight of my reading year. Delving into this sprawling tale, brimming with unexpected developments and filled with striking moments of poetry and captivating ideas, was a genuine delight.
For the longest time Coleridge has been known as a crackpot who squandered his poetic gifts for a raft of misguided, speculative ideas. He was also accused of financial mismanagement, political opportunism, plagiarism and a very cavalier conception of his role as husband and father of three children.
There will be more or less truth in all these accusations. But these less laudable facets of a life should not obscure a fascinating talent for embodying a quintessentially Romantic type of genius. Coleridge thrived in a force field at the intersection of two realms: a 'worldly' encompassing creative empirical observation and action, and a 'wordly' where poetic expression and metaphysical speculation bounce off each other “like two correspondent concave mirrors, having a common focus, while each reflects and magnifies the other” (to borrow an image here that Coleridge used to characterise the relationship between the lovers in 'Romeo and Juliet'). Imagination is the engine that drives this metabolism. It extracts its fuel from the generative processes that are deeply embedded in natura naturans.
It strikes me that this framework offers a lens through which to study the lives and works of a select group of other philosopher-poets in whom I have an abiding interest: Friedrich Hölderlin, Friedrich Nietzsche, Ernst Jünger, Walter Benjamin.
What connects all these writers, including Coleridge, is their unique style. Their work offers itself to the reader as a disorienting mix of fragments, paratactic shifts, and palimpsestic intertextuality. Very postmodern, in a way. But what lifts it out of the casually multi-perspectival is an ontological shift away from a dualist worldview that pits humans against the rest of the cosmos. These writers insert themselves into the creative matrix of life and allow themselves to experience it from the inside. Hence, technè makes way for poiesis. “Being alive” becomes a generative category of critical thought and artistic expression. A deeper empirical subjectivity gives way to poetic objectivity....more
A gripping psychological portrait on a tightrope between
"Das All war für ihn in Wunden" ('For him, the universe was in wounds')
and
"Ich verlange in A gripping psychological portrait on a tightrope between
"Das All war für ihn in Wunden" ('For him, the universe was in wounds')
and
"Ich verlange in allem Leben, Möglichkeit des Daseins, und dann ist's gut ..." ('I demand life, the possibility of existence, in everything and then it's all right ...')....more
This fine volume accompanies an ongoing retrospective at Stockholm's Moderna Museet. It casts an interesting light on the life and work of a largely uThis fine volume accompanies an ongoing retrospective at Stockholm's Moderna Museet. It casts an interesting light on the life and work of a largely unknown artist. Lotte Laserstein was a Jewish portrait painter who moved to Sweden in 1937, where she lived and worked until her death in 1993. The title of the exhibition alludes to the frayed edges in Laserstein's personal life and artistic career that were the result of this forced uprooting. The book is handsomely produced and well printed. The catalogue offers a clear overview of the artist's career, with an inevitably limited but illuminating selection from an oeuvre that encompasses 10.000 works. There's a slight emphasis on the (artistically less convincing) Swedish part of her life. The accompanying essays do a good job of sketching out the complexities of what appears to be a straightforwardly figurative oeuvre. Lotte Laserstein's work oscillates precariously between conservative academicism, the tropes of early twentieth-century mass media, and the ambiguous artistic tenets of the 'New Objectivity' (Neue Sachlichkeit) movement. Gender adds an extra layer of complexity. She seemed to have skilfully used the Weimar Republic stereotype of the sophisticated 'New Woman' (Neue Frau) to obscure her own sexual preferences and the nature of her relationship with her favourite model and lifelong friend, Traute Rose. Artistically, the move to Sweden marked a real break. The post-war climate was unfriendly to her traditional style of painting and there were few opportunities to show her work. She had to make a living from commissions, which meant that her clients' tastes took precedence over her own ambitions. The question remains, however, as to why she didn't produce more personal work in the shadow of these commercial pursuits. Lotte didn't keep a diary, and we only have a collection of letters to Traute to give us an idea of her inner life. A selection of extracts from these letters is included in the book. What emerges is a psychological portrait of a serious, somewhat inflexible and very private woman who lived uncompromisingly for the art she had mastered in her formative years.
[image] Self-portrait, en face, ca. 1934
"Reality? To me, that has always been my work, ever since I was a child. My life was carved into two chunks of almost equal size: childhood, youth, training, my first independent work and leaving Germany. Then a new laborious start in Sweden. If I had not had my own reality in my paint box, that little case that led me from Skåne via Stockholm to Jämtland, I could not have borne those years when everything was taken from me: family, friends and home. I retrieved some of it thanks to "my only reality."...more
The two volumes of Holmes's biography of Coleridge run to nearly 1,000 well-filled pages, not counting the copious notes. It's an enchanting journey fThe two volumes of Holmes's biography of Coleridge run to nearly 1,000 well-filled pages, not counting the copious notes. It's an enchanting journey for the reader interested in grasping the mind and life of this protean genius.
I extract a quote from Kathleen Coburn's Experience into Thought: Perspectives in the Coleridge Notebooks that succinctly outlines the scope of this vast intellectual and artistic project, driven by unbridled curiosity, extraordinary powers of observation and a profound respect for the intelligence of life.
There are therefore many Coleridges. (...) First the poet (but known chiefly for only three miraculous poems and about three others); then the literary critic, without whom the history of English literary criticism as we know it is inconceivable; the critic of science, the ‘so-so chemist’ as he called himself, whose rôle in sharing the struggle of Davy and others over the concepts and terminology of modern chemistry and biology is just beginning to be appreciated; the logician, whose hitherto unpublished Logic, edited by Professor Robin Jackson, is in the hands of the printers; the journalist, the top leader-writer of his day in the Morning Post and the Courier, whose three volumes of newspaper contributions will reappear any day now; the social and political critic, who wrote the first analysis in English of a post-war economic depression at the close of the Napoleonic wars, a work admired by Maynard Keynes; the psychologist, who grasped the notion of a subconscious mental life and of varying levels of consciousness, who coined the words psycho-analytical and psycho-somatic (as well as hundreds of other words now in our dictionaries), who anticipated the twentieth century on dreams; the educationist, who believed in cultivating the initiative in children and attacked the conventional negative controls by punishment; in theology the ‘higher critic,’ who ploughed methodically through dozens of the heavy German volumes of Eichhorn, Michaelis, and their ilk, and advocated an historical approach to Judaism and Christianity, denouncing what he called the ‘superstitious’ reading of the Scriptures; and one of the most influential of all Coleridges, the analyst of the church as both a spiritual and a temporal society, and of the obligations of both church and state to the national culture; and there is Coleridge the Englishman who was a determined ‘cosmopolite’ (to use another word he coined), who drew up a plan for a league of nations (admittedly with a proviso – although the Napoleonic wars were over–that no Frenchman be allowed to settle outside France or her colonies). And I see I had almost forgotten the philosopher! Yet he delivered possibly the first course of public lectures by an Englishman on the history of that subject – for money (not much money)."
Holmes succeeds where many other biographers fail. (I am thinking here of Rüdiger Safranski's deadpan portrait of Coleridge's contemporary Friedrich Hölderlin). The panoramic vision, the granular chronology, the extensive quotations from Coleridge's notebooks and letters make for an unusually vivid portrait that inspires enthusiasm and love for a brilliant and fallible man. ...more
Early German Romanticism is an exceptionally exciting interval in the history of Western literature and philosophy. Already then, a handful of brilliaEarly German Romanticism is an exceptionally exciting interval in the history of Western literature and philosophy. Already then, a handful of brilliant minds were able to envision the philosophical and spiritual horizon of the 21st century, fuelled by an explosive mix of conservative Lutheran protestantism, the Eureka moment of Kant's 'Copernican revolution', the semi-authoritarianism of the German absolutist courts, emerging German nationalism, French and Haitian revolutionary ferment, the shockwaves brought about by the Napoleonic wars, and the rapidly encroaching sense of alienation from industrialising and rationalising societies. The young Friedrich von Hardenberg, alias Novalis, was a member of this small circle of thinkers and dreamers. Gerhard Schulz does a commendable job of presenting a balanced, coherent picture of this enigmatic representative of this intellectual movement. von Hardenberg died very young, so there is relatively little biographical substance. The narrative is built around the process of Novalis's artistic and philosophical development, as revealed by the key works in his relatively modest oeuvre, the general intellectual climate of the time, and the verifiable sensitivities of the young poet's personality, namely a heightened attraction to the fundamental tension between Eros and Thanatos. The discussion of four major works occupy a significant part of the book: the unfinished novel Heinrich von Ofterdingen, the Hymnen an die Nacht, the late poems, a compact body of work in which Das Lied der Todten occupies a liminal position. Inevitably, much remains lacunar and sketchy, and Schulz is careful to restrain a speculative impulse to fill these gaps. The one chapter that left me somewhat dissatisfied deals with von Hardenberg's Das Allgemeine Brouillon, an incomplete 'encyclopaedic' work that provides a foil for his philosophical ideas. Personally, I also think that a meaningful connection could be made with the hermetic and mystical current in Pietism. Schulz doesn't touch on this, although Novalis explicitly refers to Jakob Böhme in one of his late poems (An Tieck). Nevertheless, I wouldn't know where to turn for a better introduction to the life and work of this exceptional poet....more
A collection of four sensitive stories - three of which are autobiographical - chronicling life in close company with people in very old age. I think A collection of four sensitive stories - three of which are autobiographical - chronicling life in close company with people in very old age. I think I will read more of this author. ...more
Strindberg's Inferno set off an interesting train of thought. One can shrug it off as a somewhat overwrought account by a quasi-schizophrenic persisteStrindberg's Inferno set off an interesting train of thought. One can shrug it off as a somewhat overwrought account by a quasi-schizophrenic persistently haunted by apophenia and hallucinations. The author's histrionics indeed make it hard to take him entirely seriously. The dilettantism displayed in his alchemical experiments reinforces the perplexingly comical side of this biographical report. Yet, at one point deep in the narrative I was startled. Strindberg recounts a walk he made in a gorge somewhere in Upper Austria. It is a somewhat sinister scene, laced with atavistic images. The passage uncannily reminded me of a journal entry I penned two years ago when I was on a solo writing retreat in the winterly Alps. What I committed to paper there was not something that actually happened. I simply mixed mental images of actual experiences with pure invention. The result was a rather fantastical story of me losing my way in an alpine setting. Perhaps all this was triggered by my experience of silence and isolation. So, thinking back on this episode led me to question what Inferno actually represented. Is it really a biographical narrative or did Strindberg, in his usual solipsistic existence, just went along meshing real events with invented ones? Does it being fact or fiction make a difference at all? How thin is the line between normal and eccentric when it comes to mental health and psychological symptoms?
Another element that put me on an interesting trail, and led me to take this weird tale more seriously, is the figure of Emanuel Swedenborg. Somewhere halfway the story Strindberg gets under the spell of this 17th century hermeticist. I didn't know anything about Swedenborg, just assumed him being some kind of occultist crackpot similar to Madame Blavatsky and some of the protagonists in the Hermetic Order of the Golden Dawn. I read the chapter on Swedenborg in Goodrick-Clarke's The Western Esoteric Traditions: A Historical Introduction and found that really captivating. Indeed, there was a striking parallelism between Swedenborg's experiences in 1744 and Strindberg's 1896 'infernal' sojourn in Paris. Beyond that, Swedenborg appears as a most fascinating personality on the cusp between the early modern period and Enlightenment. I was reminded here of Giordano Bruno who had taken a similar position, it seems, about 200 years earlier when Renaissance tilted into the early modern age. At first sight it seems that Swedenborg's life can be neatly divided into two phases, pre- and post-revelation so to speak. But Goodrick-Clarke points out that scholars such as Martin Lamm have convincingly argued for the continuity between Swedenborg's scientific and mystical ideas. Interestingly, Swedenborg was in many areas of scientific research, notably in brain physiology, ahead of his time. Allegedly he was the first to articulate the concept of a neuron. A cursory online search on 'Swedenborg' and 'cybernetics' led me to what seems to be a most interesting publication, namely John Lardas Modern Neuromatic: Or, A Particular History of Religion and the Brain, which establishes the connection between these two at first sight very unlikely bedfellows. So now I feel myself compelled to read Lardas Modern's book as well as Pickering's The Cybernetic Brain: Sketches of Another Future (has been on my shelves for ages) to find out more about a possible link between 20th century systems science and an ancient hermetic tradition.
[image] August Strindberg in 1912 (source: unknown)...more
When I started reading this book, I knew nothing about Beuys. Twenty years ago, I shared a room in a ruined Slovenian castle with a guy who couldn't sWhen I started reading this book, I knew nothing about Beuys. Twenty years ago, I shared a room in a ruined Slovenian castle with a guy who couldn't stop raving about Beuys. But I didn't follow the lead then. Nor did I when I saw works of the artist here and there in museums and exhibitions. They always left a grim and somewhat unsavoury impression on me.
The renewed focus on Beuys on the occasion of his 100th birthday was a good opportunity to finally approach this monstre sacré. This book seemed to me a solid introduction. The logic is chronological, outlining the artist's development through a series of 24 tableaus, each dedicated to a particular work and linked to a contextual element that helps understand the broader scope of Beuys' project. Ursprung focuses mainly on the work's political and social resonance. He does not avoid the more delicate points regarding Beuys' Hitlerjugend membership and his wartime service as a navigator of a Stuka dive-bomber. The survey stretches across all the institutional ruptures and geopolitical tensions that emerged in the second half of the 20th century: the growth of the middle class, consumerism, German Vergangenheitsbewältigung, Ostpolitik, European integration, transatlantic relations, the ecological crisis, identity politics, the relationship between humans and non-humans. It really underlines the utopian scope of Beuys' artistic project. So I take issue with another GR reviewer who condemns Ursprung's effort as superficial and " dumb". It certainly isn't.
That said, I don't feel this book gives a fully rounded picture. I wanted to better understand Beuys' hermetic side, the shamanic quality of his presence and performances, and the eminently romantic inspiration behind his work (and the inevitable ethnonationalist resonances that come with it). Urprung draws attention to these elements but does not probe deeply. His portrait is clean and rational, lacking the visceral aura that so captivated those who experienced Beuys first-hand. German artist Carl Giskes, who worked with Beuys in the 1970s, put it this way: "For me, it was all about the person Beuys. I travelled around the world from 1971 to 1977, visited 120 countries, but never met anyone who spoke as clearly as he did. He gave me a warm heart. When he spoke, it was like singing to my ears."
3,5 stars.
[image] Picture by Caroline Tisdall taken during Joseph Beuys' performance I like America and America likes me, May 1974, Gallery René Block, New York. This is the subject of the 14th tableau in the present book. ...more