note_16 #Rivering 2014-2019 (scraps, almost there…)

Screenshot 2019-03-05 11.29.32

Rivering the Roding started in the mud above; September 2014, as you can see if you scroll to the bottom (this one of many* returns!). These tweets are obviously incidental scraps but they do suggest or ghost if not exactly tell a story (again; bottom up). It’s a story about London, thinking like a river, which requires articulation (#rivering) and for me to show what such ‘thinking’ might be. I am coming in to land (circling back and now very close to the muddy confluence), and yes, you can start to hold your breath. Please 😉 Continue reading “note_16 #Rivering 2014-2019 (scraps, almost there…)”

note_15 On Maria Gabriela Llansol’s The Geography of Rebels in Graz; locating a nonviolent image…

LlansolNonviolence

From the Portuguese original of Llansol’s Geography of Rebels

In lieu of writing critically about Maria Gabriela Llansol’s first ever publication in English; The Geography of Rebels, from Houston’s Deep Vellum, I’m posting this sly reference (below, plus). However, as I said re Mallo, these and some of 2019’s forthcoming books (mostly in translation), call out for serious, passionate, engaged, authoritative responses from writers. I hear the call and am going to be responding again after a long interlude.

Spend a life attempting to capture the resistant poetics of your existence (what/why else?) and you do gain special access to other writing. You’ll see right through most of it, but locate what magic there is, know and observe or instinctively recognise how it is done. It’s all in the writing. If you make original sentences or lines, then you know about each word, each in between, and all their potentialities.

Thus I detect a new Khaled Khalifa (Death is Hard Work: wow!), a forthcoming Vila-Matas, works on Mohamed Makiya or by Yasser Elsheshtawy (temporary cities in an Arabian context), but also intriguing books located more locally by E J Burnett, or Laura Beatty, etc. The call is urgent and easily matched by the urgent response that books pages call a review. Books pages tend to agree on what is important, especially viz work in translation, exceptions are treasured like monsoon rain. I almost always felt differently and it was a significant motivator in paying and generating attention to awkwardness, the resistant or ‘difficult’, complex or subtle, and the ‘foreign’ (work in translation not -generally- otherness filtered in English for the British market -who pull-up at all borders!). No apologies. Continue reading “note_15 On Maria Gabriela Llansol’s The Geography of Rebels in Graz; locating a nonviolent image…”

note_14 On reading Agustin Fernandez Mallo’s Nocilla Trilogy in DXB’s Deportees’ Room

img_0010_immigrationinvestigationsharp_sheikhs_officebackground_crop low

DUBAI INTERNATIONAL (DXB) Connecting the World

As Nocilla Lab, the third part of Mallo’s Nocilla Trilogy is published by Fitzcarraldo Editions in the UK, I kick myself for not conjuring the time to review it or celebrate the Trilogy in critique. Also for not yet even trying to read Mallo’s more recent Trilogía de la guerra (Seix Barral, 2018) in its original, despite it appearing last summer. I’m buried, properly, in my own manuscript (RR) which is very close to completion. Horizons lift in 2019 and I will be writing shorter critical pieces, once more, amongst other things…

portada_trilogia-de-la-guerra_agustin-fernandez-mallo_201802071134Mallo’s Dream and Experience are as good as each other in the suggestive vitality of their fragmentary form. They possess rare degrees of necessity and are, in the best sense, a minor literature, which means that you’ve not been reading at all if you’ve not read them yet! Put aside the Jo(h)nathan-literature, knowing you’ll miss nothing if you return to it in the future. Nocilla Lab works towards graphic elements in my 2009 Punto de lecture edition, which I struggled to bring alive with my old (LA) Spanish…

I was (re-)reading Mallo en route to a Residency in Sharjah, January-February 2017, and resisting the serial, fragmentary, and fictive, as ways to make the book I would start writing when I returned home two months later (with further Porting residencies scheduled for Aug 2017 and Feb-Mar 2018). It was not that a series of fragmentary texts with rhythmic associations would not be a natural way for me to write my river (an actual river, more of which to come). Continue reading “note_14 On reading Agustin Fernandez Mallo’s Nocilla Trilogy in DXB’s Deportees’ Room”

note_13.1 Les Chiens Nauman/ tears in the rain in the context of catastrophe/ DG-F TH.2058

screenshot-2018-05-29-18-13-08-e1527615943519.png

My young connoisseur -or collector of urgent life-impressions and artful invention- has begun school-life so close to the TM that a liquid-chocolate balm combined with ‘two rooms’ has become a fixture in our lives. In the process, he has elevated El Anatsui to quite a pedestal, but I continue trying my best to broaden his horizons. Bruce’s revolving head, tick, Bruce’s Violent Incident, getting there, Bruce’s dogs, well; there’s time…

not the nauman obvOf course, these are not Les Chiens de Nauman. But those in the Art Room selection reminded me recently of their spirited precedents in Dominique Gonzalez-Foerster’s TH.2058. I was led there by a number of things; my own work-in-progress (articulating or #Rivering the Roding), and thus echoes of the river-beggaring I did floodplain-to-floodplain in Rotterdam; a ruined world of mud to be embraced with curiosity, reminded of that when receiving Defne Ayas’ archive of her WdeW years; Blessing and Transgressing; A Live Institute, which includes that first use of ‘rivering’ as a way of trying to articulate muddy-footed actualities with urgent recognitions of coming urban life, by a recent taste of DG-F’s work which reminded me of how much there is to enjoy and admire in it (esp. with a clear view of its span), close rubbing-ups against Vila-Matas (about whom much more some day, the writerly intimacies are too elemental. Dostoevsky once more or less literally saved-by-enabling my life, a very long time ago. V-M is a similar interior intimate on an extremely short list). They, as you know, have been working together since 2007 (when only Bartleby & Co, perhaps Montano too had been translated into English), and so I found myself thinking about TH.2058, a work that has remained with me more as a puzzle, or query, than a settled memory, or answer. Continue reading “note_13.1 Les Chiens Nauman/ tears in the rain in the context of catastrophe/ DG-F TH.2058”

note_05.1 Angela Carter on Wilson Harris “the Guyanese William Blake”, 1985

Angela Carter and Grace Paley on the Tube, c.1987 © Kate Webb

Angela Carter and Grace Paley on the Tube, c.1987. Ph ©KateWebb

“KW: Will you start by giving me your impression of Wilson?

 AC: He’s got these curious hooded eyes, he never looks at you straight. And this wonderful sing-song voice, this vatic, musical accent. He’s very impressive. But I don’t want to give you the wrong impression because he’s not like John Berger: it’s obvious that he never set out to be impressive. I can only say about his presence that when he said to me about my son, “You have a wonderful little boy”, I felt it was some kind of blessing.

 KW: Why do you think he’s such an important writer?

 AC: Until very recently there was nobody writing anything remotely like him in Britain, nobody writing fiction with that particular kind of poetic intensity

note_14 Go> Vincent Fecteau & Dominique Gonzalez-Foerster in Ldn -are these V-M? No!

IMG_5388

Two very nicely concentrated shows opened Thu 13 April at the same postal address; Corvi-Mora and Greengrassi in Kennington. Vincent Fecteau fills the downstairs gallery with plinth-mounted, moulded vehicular/ventricular sculptures in naturally-coloured paper maché paste (atmospherically béton brut) with organic elements secreted within or attached to them which are more affecting than that can possibly sound. Click through his gallery page here, to trace or remind yourself of his trajectory in London at least since 2000 (I didn’t document the show myself, gallery images are linked above though). This is art that addresses the elementary question of why we make objects or things at all. That’s what is going on with and through them; quiet, exacting necessity …

Dominique Gonzalez-Foerster, also gave a performance earlier in the week Continue reading “note_14 Go> Vincent Fecteau & Dominique Gonzalez-Foerster in Ldn -are these V-M? No!”