McKenzie Wark’s Capital is Dead (Verso) launches in New York on October 9th and later in the month in London (21st TATE Modern, 24th Foyles). This note is just a small celebration of that fact, linking to the conversation published in the current excellent issue of TANK magazine and here: https://tankmagazine.com/issue-80/features/mckenzie-wark/
Capital is Dead is an urgently rewarding read, as well as a summation of sorts for the author and much of her work in this century. This clip from the published text should alert you to the unorthodoxies it engages and the energy applied too!
The New Vulgarian came out at about 4000 words in the end, Continue reading “note_22 With McKenzie Wark for TANK; radical vulgarity vs “genteel Marxist… cops” ;)”
EXCELLENT ESSEX In praise of England’s most misunderstood county by Gillian Darley Old Street Publishing, London. 17 Sept 2019
Gillian Darley caught my attention some years ago with her positivity towards that “most overlooked and undersold of counties”; Essex, which she presented without the usual preface of undermining caveats. “Surprisingly, Essex is rather self-effacing”, Darley wrote, its “delight based on anomaly and paradox.” The part of Essex I have come to know intimately; the River Roding, its valley and catchment, which runs through the north west flanks of an exceptionally rich cultural landscape into London’s most vital parts, exemplifies these qualities. Darley’s refreshing words appeared in her review of an updated Pevsner guide in the London Review of Books (2007) which was, it turns out, also the trigger for Excellent Essex itself.
Titles and terms; I’m as troubled by the ‘excellent’ here as I know you are. If it’s a reference to a phrase or shorthand then I don’t get it. In any case, how does Superb Sussex, Brilliant Berkshire or ‘You’re Beautiful’ Yorkshire sound? Then there is the more elemental problem of a book, any book, about a county. Do we still do that? It’s not that a comparative counties schtick would be better or any less old-fashioned; both belong to cultural realms last evidenced half a century ago. Indeed, Darley refers admiringly to the photography of Edwin Smith which appeared in Gerald Scarfe’s Shell Guide to Essex (1968), in the series edited by Johns Betjeman and Piper. All of which feels fustily antique.
In somewhat belaboured contrast, Darley draws her book to an end with A House for Essex, the architectural curio commissioned by Alan de Botton, produced by architectural new-wavers FAT and artist-mascot Grayson Perry, and located in Wrabness. Darley writes; “The more I think about Julie Cope (Perry’s ‘Essex-girl’ name for it) the more she emerges as a figurative Essex.” By this she means the knowing vulgarities and devil-may-careness of it as well as something more profound. Darley’s figured Essex “took a journey out of one Essex into another, towards a wider more generous world.” This is an Essex I recognise; “belonging yet not-belonging, absurd yet admirable … open to ideas and experiment, making it fertile ground for alternative ways of living and favouring the independent-minded”. Qualities of a place worthy of a book, in fact. Continue reading “note_21 Gillian Darley’s Essex; meanderings (in lieu)…”
Gold-tips in Abu Dhabi’s Emirates Palace Marina (GM-A, 2013).
IMBECILIC CONTINGENT INTRUSION(4)*
Everything we know about ourselves and our various shared and not well-shared histories affirms that systems of hermetic control never work for long, that consolidation hastens collapse. The more autocratic the regime, the messier the collapse. I will leave all of that to time, which will operate unerringly.
Meanwhile, to demonstrate a simple truth, we are going to plant a forest in DXB’s Terminal 3. It’s easy. Those of us who know the place will return from various ports in carefully staged flights that betray no joint venture. We will all be either prevented from getting on a flight, stopped at and detained at DXB, or held in the Deportees Room for some hours. Two of us at least will get in—to the airport, not the country!—and overlap in the Room on ROLEX time. We will take our allotted hour to find food in the Terminal and head up to our Costa rendezvous. We will have seeds of trees with us. We will be carrying gorgeous presentation boxes of fertilised roals or figs, like the kind from Aliya Dates Farm that I recall from a leather-lined yacht in Abu Dhabi’s Palace Marina.
Gifts, you see. Gifts of the Rolla tree, the put-upon-banyans, these potent embodiments of hopes, wishes and dreams for change. Continue reading “note_18 On the work Abu Dhabi banned from Sharjah (Biennial) 2019? #DXB”
Death is Hard Work, Khaled Khalifa
(Trans; Leri Price. Pub/UK; Faber)
By Guy Mannes-Abbott
“Death had become hard work. Just as hard as living, in Bolbol’s view.” Abdel Latif al-Salim’s youngest son has promised, “in a rare moment of courage”, to honour his father’s dying wish to be buried with his sister Layla. The retired teacher and belated rebel died of natural causes in a hospital in Damascus when nothing else is natural in the middle of Syria’s uprising. Bolbol triggers the 400 kilometre drive north into Aleppo’s hinterlands, which takes 3 torturous days and ends with maggots climbing the windows of the family minibus.
Death is Hard Work is a huge novel of just 180 pages and the third of Khaled Khalifa’s to appear in English, courtesy of their translator Leri Price. In Praise of Hatred (2008) and No Knives in the Kitchens of this City (2013) were each short-listed for the International Prize for Arabic Fiction, with the latter winning a prestigious Mahfouz Medal, and arrived in English in 2014 and 2016 respectively. They were preceded by two further novels, while their author has also written for television in Damascus, where he lives to this day.
Khalifa captured a freighted immobility in all this which his new novel disperses with ferocious intent.
Continue reading “note_17 On Khaled Khalifa’s Death is Hard Work; ‘Undead, what and who will you defend and nurture as your world drowns?’”
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…)”
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 can see right through most of it -line by smooth paragraph by over-recognisable page- but also locate magic; know, observe or instinctively recognise how it is done. It’s all in the writing. If you make original sentences or pages, then you know about each word, each in between, and all their potentialities. The call is urgent. 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 (2019: Khaled Khalifa, Enrique Vila-Matas, Anne Boyer, Saidiya Hartman, Ariella Aisha Azoulay, Yasser Elsheshtawy, but also E J Burnett, Laura Beatty, etc.); a significant motivator in paying attention to awkwardness, the resistant or ‘difficult’, complex or subtle, and the ‘foreign’. No apologies. Continue reading “note_15 On M G Llansol’s The Geography of Rebels in Graz; any place for a nonviolent image?”
Creech Air Force Base, Nevada, 45 miles N of Las Vegas, home of the MQ1 Predator Drone
Five years after writing this short story, Buzz, Buzz, Buzzzzz, it feels timely to share it here (below). It describes drone flights over Herat, Khorasan and Iran’s central plateau across to Bushehr and Bandar Abbas where the drone tracks back east again. I wrote it in the voice of the drone (mad thought obviously), which begins in the kind of (monstrously violent/ deeply racist) formulaic AI-speak of its makers -also in Nevada- but changes when brought down to earth in Iran, as the RQ-170 actually was, where it encounters people and place, face-to-face…
Commissioned in London, written and submitted from Bhuj in Kachhch in December through January 2012-13 -where I was also in March 2003, incidentally, when the declining US Imperium unleashed shock ‘n awe/invasion ‘n occupation on Iraq, making the ground move where I was standing too- to be published and launched at Dubai in March 2013. Continue reading “note_12 Kandahari Cramps? A human fly linking Busheyr, Bandar Abbas, Bhuj in Kachhch and Dubai -of course…”
Take these essays at difficult things inside you, let them pulse through your body and mind. And to your heart, yes. It may require more courage – in Britain, in English- than even I conceived in the last months of 2004. Courage and none at all, because these are a range of essays -as the short review below makes very clear.
I’ve been trying to develop a measure of truth in the context of the Persian Gulf and the regime in Abu Dhabi in as universal way as possible from an inventorised location in London and in English. I settled on a millennium-old measure from an Arabic treatise on taste. More on that in links to publications to come, but it reminds me of the increasing difficulty of being able to recognise a Palestinian right to exist in Britain or in English. Continue reading “note_09 “It may require courage (but) take these marvelous essays to heart” Mezzaterra, Ahdaf Soueif”
“What was the identity between love and work,
or, the love found in working together?”
“Let’s draw focus on their passion: the love and work. The following is from Diana Souhami’s glorious book Gertrude and Alice:
‘“Our pleasure is to do every day the work of that day,’ wrote Gertrude, ‘to cut our hair and not want blue eyes and to be reasonable and obedient … Every day we get up and say we are awake today …’
… So we circle back to The Autobiography of Alice B.Toklas, which wasn’t of course an autobiography. What was it? […] Primarily, it was also an autobiography, but not of Alice. It was a biography: not one authored from outside, but from inside, albeit in another’s voice… I linger with this because while this is one of the most conventional prose-like works of Gertrude’s it is also properly strange. That is, Gertrude adopted Alice’s recognizable voice, exorcising as many Gertrudisms as she could identify, though not all, to write a memoir of her own life and times.”
-extracted from my text/talk COUPLING | Gertrude and Alice | July 2016.
Click through for links to Shumon’s piece and the Superhumanity project above and for the recording of the original event on G&E and Marina Abramovic and Ulay click my Readings_Talks button (where you can click on through to see/hear the other Couple Formats too).
“… condenses the most interesting currents in the region for at least two hundred years, the most potent of all the residues of port activity across the Gulf, the Arabian Sea, Indian Ocean and beyond…” -from Porting One (DXB)
Coming to a screen near you soonish 😉