In order of being read. Giorgio Agamben – What I saw, heard, learned… One night, along Venice’s Zattere, watching the putrid water lap at the city’s foundations, I saw that we exist solely in the intermittence of our being, and that what we call I is just a shadow continuously bidding farewell and saying hello, barely mindful of its own dissipation. All the machinery of our body serves solely to provide that break, that inversion of breath in which dwells the I—the intercessor of its own absence, unforgettable, neither living nor speaking, but the only reason we’re given life and language.   [Translated by Alta L. Price] This book has 72 pages. On each of the first 61 there is a single paragraph. Reading them in sequence is like springing from stone to stone to cross a river. Sometimes one gives way.  The final 11 pages have a negative version of the title and whose content is comparable to Blanchot's A Primal Scene? in The Writing of the Disaster. Holly Langstaff – Art and Technology in Maurice Blanchot The unprepossessing title disguises a brilliant and beautifully written analysis of the subject, and perhaps timely given the step-change in Artificial Intelligence currently wiping out sources of income (including my own). What I learned is that Blanchot's vision of literature is much more radical than I had previously allowed, no doubt enchanted by the romanticism of Blanchot's keywords without facing up to their implications, all due to an unyielding humanism. He may have welcomed the AI-generated novel because it undoes instrumentality and exposes us to "the abyssal non-foundation of art" in which we might find "something profoundly affirmative ... where nothing is predetermined, neither by an all-powerful God nor by the teleological progress of history". In February, I wrote about AI-generated poetry as criticised by Alice Oswald. Wade Davis – Into the Silence: The Great War, Mallory and the Conquest of Everest There are hundreds of pages in this book telling the story of a generation of amateur mountaineers in the years before, during and after Great War that have a resonance similar to Max Aue's fictionalised account of the Babi Yar massacre in Jonathan Littell's The Kindly Ones. The reader also enters into the silence. Thomas Bernhard – Gargoyles At the midpoint of the year I became seriously jaded with reading. Everything was routine and a chore. I bought books assuming the author and subject matter would guarantee the old spark of new life, only to set them aside after a handful of pages. They piled up like a gambling debt. Then, in desultory scanning of bookshelves, I picked out Bernhard's second novel. It had never been a favourite but I hadn't read it for many years and fancied bathing in Prince Saurau's speech that usurps the novel halfway through (the novel should be reissued with a better translation of the German title Verstörung as 'Disturbance', in part to refer to the Prince's state of mind). Before that speech arrived, however, it became one of my favourite novels of all time (why do people use that stupid phrase?), and not just of Bernhard's, which are among the best novels of all time. Someone on Twitter puts it well: "Though his style got more refined, the melancholy and poetry of his earlier works were never matched again, not even by him." Soon after, I would read a book that helped me to appreciate why melancholy and poetry sparked new life. But first, something completely different. Nicholas Rooney – Talking to the Wolf: the Alexander Dugin Interviews Alexander Dugin's reputation goes before him and I began to read these interviews as a means of bypassing received opinion. Once started, I didn't stop. There are over 500 pages covering philosophy, theology and politics. His focus in theology is often on the need for a relation to eternity: The distance between us and eternity is growing and it demands more and more effort in our life in order to return to eternity. So we go out of eternity and fall. Time is a kind of radical sin and not a kind of progress; it’s something completely opposite. We should make time something other than it is, and that is precisely why when Christ was baptised the river Jordan went in the opposite direction. So that is precisely what we need to do. We need a kind of revolution of time. We need to direct time in the opposite direction. Eternity is also a topic for Tancredo Pavone in Gabriel Josipovici's interview-novel Infinity in which the composer speaks a fusion of profundity and bullshit. Whether 'also' should appear in that sentence is up to the reader of these conversations to decide. The question must be why I enjoyed them almost as much as Gargoyles (so not completely different after all). When Dugin turns to politics, his deeply conservative opinions do not preclude proposals for a multipolar world order. This was unexpected and hopeful, which must be why he is demonised by the unipolar West. William Franke – Dante’s Vita nuova and the New Testament: Hermeneutics and the Poetics of Revelation Some years ago Lee Rourke, a fellow scourge of Establishment Literary Fiction, identified the default mode of the contemporary novel as 'lyrical humanism'. As he has written for the New Humanist, I assumed this was because lyricism appeals to a residual irrational and thereby religious inclination in secular society and, contra Mallarmé, he seeks to purge literary language of anything beyond functional utility. I may have assumed too much, but reading Bernhard's Gargoyles and especially Prince Saurau's gloriously disconsolate aria, I realised that I am travelling in the opposite direction. This is not a religious turn but faithfulness to an experience that cannot be conveyed by a chronicle of facts. For Dante the experience was the incarnation of eternity in time in the form of Beatrice, conveyable only in lyric. William Franke's book helped to appreciate the prose 'explanations' in the Vita Nuova alternating with the lyrics were necessary to avoid the latter becoming absorbed by a literary and rhetorical tradition rather than the voice of an individual recording a unique vision. In this way the Vita Nuova becomes a contemporary gospel, risking blasphemy in doing so. Prince Saurau's speech may be its recurrence in a secular time, hence its paradoxical glory. I have written before about the Vita Nuova in Dante on the Beach. Gabriel Josipovici – A Winter in Zürau and Partita I wrote about this two-book edition in October, so all there is to do here is to reiterate the gift of the first part is its case for formal adventure in writing and of the second its enactment. It is one Josipovici has made throughout his career, but never with such focus. He makes clear that what distinguishes Kafka is that his experimentation in the Bohemian countryside was not a means to impress critics, not a noodling with sentences, not playing with genre, but a means of relating to "ultimate things" borne on a deeply felt existential anxiety. Mark Bowles – All My Precious Madness The blurb I contributed to this wonderful novel is deceptive in that Mark Bowles is like Thomas Bernhard only in the narrator Henry Nash's exultant anger with the social and political conditions in which we live – more or less unheard of in the British novel – and the triangular relationships, as set out by Thomas Cousineau in his book on Bernhard, in the form of Nash himself, his father and Cahun, the ghastly representative of the professional managerial class. It may be described as the Bildungsroman of a Critical Theorist, only with the rebarbative prose of that movement replaced by luxurious sentences, something else he has in common with the great Austrian.

"A novel is a kind of lazy way of writing a short story, a short story a lazy way of writing a poem" said Muriel Spark, adding by explanation: "The longer they become, the more they seem to lose value". We might wonder then if the most value is to be found in the shortest novels, the shortest short stories and the shortest poems, such as Christian Stevens's Hummingbirds / don't know the words and Giuseppe Ungaretti's Eternal. However, these may be still too lazy for Muriel Spark. A single word instead then? A single letter perhaps, maybe even a punctuation mark. Such logic leads to a blank page as the least lazy and most valuable form, or no page at all, or even better, the space from which the page has been removed. But perhaps Muriel Spark is only cheekily inverting the common assumption that, as a lisping Kingsley Amis might have said, more means worth. If she is, it is only its inversion: the longer a work becomes, the closer it comes to such value in the abyss of prose. Collecting poems or stories into a book draws attention to the spaces between entries that invoke a value effaced by the writing. [1] What can the writer do? The question creates the tension in Blood Knowledge, the story opening Pretty Ugly, Kirsty Gunn's latest collection. Venetia Alton is a writer of bestselling historical romances reflects upon a happy marriage and two successful careers, a beautiful home and garden, with children having flown the nest to find their own happy and successful lives. She publishes a novel every two years, alhough she admits they write themselves: It was a case of doing the research, compiling the characters, and the contents would play out in the same way with every title: Tough times into good. Happy ever after. Wars could rage in Renaissance England, French coasts beset by 19th century piracy and highland estates overcome by rebellion...but all would come right in the end because it was what happened at home that counted; it was a story after all. She sets all this against a disquiet often expressed to Richard, her husband, as a wish to build a different life elsewhere, perhaps abroad, but dismissed by him as "silly". How could it be better than here? She cannot say, not out loud anyway. She turns instead to writing on scraps of paper and hiding them from view. The scraps work in the opposite direction to the novels as they contain evidence of a rebellion against the genre she has lived, that she has been expected to live, as a wife and mother, and as a novelist. What counts for her is the space around what is present to everyone else, a space that cannot be addressed, cannot become part of a happy ever after story. And yet of course it it has been addressed, here. Venetia's secret was made public the moment it was written down, even if it remains forever hidden in a drawer. In keeping with the oxymoron of the collection's title, writing is an open secret. If the ostensible value here is Venetia affirmination of her sequestered self and as such appearing to submit to a familiar genre of contemporary critical discourse – it may be no coincidence that Venetia shares a seven-letter Latinate first name with Clarissa Dalloway and that her husband is also called Richard – its native value is that it pulses with the secret of storytelling, its blood knowledge, a secret nevertheless we have to keep. [2]   Notes [1] The reader's demand for the work to efface the ambiguity of value is revealed by the reliably execrable Hadley Freeman in her review of a book "described in the press release, rather untemptingly, as a short story collection". [2] It has become a pattern that, when I write about short story collections, I write about one story only despite such collections tending towards variety. It happened first with Thomas Bernhard's Goethe Dies, then Enrique Vila-Matas' Death by Saudade, followed by Sam Pink's Blue Victoria, and most recently Gert Hofmann's Arno. This appears to be a critical cop-out and/or implicit criticism of the other stories in the collections. Instead, however, I hope it is best to avoid the value-free impressionism I remember from reading reviews in the NME in the 1980s in which tracks of LPs are summarised with adjective-noun combinations – "the upbeat freedom of X, the trenchant melancholy of Y" – as if that helped anyone. In this case, it is ironic that I'm reviewing a book published by Rough Trade, which as a music label gave us records by The Fall, The Smiths and Robert Wyatt, each of which I bought at that time and still own.

A review of A Winter in Zürau and Partita by Gabriel Josipovici   Gabriel Josipovici has said that as a critic he is conservative but as a novelist he is radical. The second claim may not be controversial but the first will come as a surprise to those who remember what he said about the big-name contemporary novelists in What Ever Happened to Modernism?. This novel and non-fiction combination offers an opportunity to experience the two in close proximity – two sides of an LP, as Nick Lezard put it.  Side one is is a study of the eight months Franz Kafka spent in the Bohemian countryside after a diagnosis of TB and in particular the collection of notes he wrote there known as the Zürau Aphorisms. On the other side, Partita is a novel written mostly in dialogue following Michael Penderecki on the run after a death threat in which he spends most of this time chasing a lover who herself keeps running away. The threat of death and the promise of escape are two links between the sides that otherwise seem to have little in common. Josipovici's two claims, however, provides another. Before he left for Zürau, Kafka told Max Brod he intended to use the time to "become clear about ultimate things". Josipovici follows him through each day as recorded in the collection known as The Blue Octavo Notebooks. At first the entries include short stories, regular first-person diary entries and legalistic and theological speculations, the latter of which Josipovici is impatient as they lead Kafka into uncharacteristically "clunking" prose. But then the first aphorism appears: The true way is along a rope that is not spanned high in the air, but only just above the ground. It seems intended more to cause stumbling than to be walked along. Every edition dedicated to the aphorisms begins here but, Josipovici claims, this is deceptive. On that day in October 1917, Kafka writes a long and indeed clunking paragraph before interrupting himself with the line translated as "I digress". He then writes the aphorism. Every edition deletes this line. Reiner Stach's recent The Aphorisms of Franz Kafka is the exception but relegates it to an aside in his commentary, with the rest discussing the rope motif. Josipovici points out the original German is "Ich irre ab", which he translates as "I'm on the wrong track", backed up by Google Translate which has "I'm going astray". This he says marks a decisive change and relates directly to the form of the rope entry, which he describes as "the melding of fiction and discursive prose in extremely compact pieces".  "Ich irre ab" is thereby closer to Dante's "I had lost the path that does not stray" before he begins his journey and gives the first aphorism a similarly salvific imperative. The difference is that Kafka has no Virgil or Beatrice to guide him; belief in God has gone and the means of salvation uncertain, and the word possibly meaningless. By removing the line, the editors place the existential peril at a safe distance from which a critical apparatus can flourish. The generic distinction of 'aphorisms' is therefore inappropriate as Kafka's notes are not the witty or pithy sayings of a wise man but "the anxious jottings of a man under sentence of death". Kafka's digression was not then playing with genre for the sake of it or to show off his talent as a writer but, as he said, to "become clear about ultimate things".  The rope motif stands for Kafka's ambivalence about writing and Josipovici is rare in Kafka studies by bringing it into the foreground. Kafka recognised the grace it affords when in his diary he describes writing as "a merciful surplus of strength at a moment when suffering has raked me to the bottom of my being", but then he wonders "what kind of surplus is it?". In a letter to Brod, the doubts are expressed even more succinctly: "Writing sustains me, but is it not more accurate to say that it sustains this kind of life?" – a life in which he felt distant, a spectator unable to enjoy join in, as he described in a passage in his diary. Josipovici also shows how doubts about writing are dramatised in his stories. The officer in In the Penal Colony tells the traveller to read the sentence the machine has written on the body of the condemned man but he sees only "a labyrinth of lines crossing and recrossing each other". The machine takes twelve hours to kill so the engraving of the sentence has to be embellished to fill the time: In so doing it brings out the paradox of the machine: meant to make the accused feel in his own body the justice of the punishment, it only helps to bring out that language can never be 'true' or 'just', that it will always contain flourishes. In Zürau among simple farmers and labourers, Kafka saw no flourishes. He observed the centuries-old traditions embedded in daily life of the villagers governed by the seasons and centred on the church and recognised he was living the consequences of a society wrenched from such roots. Tradition had to be there already and could not be back-engineered. The best he could do as a writer was to distance himself from literary flourishes, to get as close to what Josipovici describes as "the unthinking life-activity that produces the works of Homer", in effect to disappear as a writer and for writing to disappear as a means of constructing ideas about the world. This was a common theme in the writers of the time. Josipovici cites Eliot's Prufrock and Wallace Stevens's snowman: What they are all searching for in their art – and in their lives, actually – is a kind of perfect anonymity, something that is the opposite of the image of the entrepreneur, the figure of Progress, linked to capitalism in society and, in art, to fictions with beginnings, middles and a nice resolution at the end. Blanchot calls this a "combat of passivity, combat which reduces itself to naught". Of course, that naught is still not disappearance as it is a combat for literature, an irony one aphorism melding fiction and discursive prose recognises: Like a path in autumn: scarcely has it been swept clear than it is once more covered with dry leaves. Josipovici notes how odd it is not to be told what is the path is like and admits that he's not sure why but the line "would be much weaker if it started with: 'I feel like' or 'My life is like a path in autumn'". The question of why it would be weaker is fascinating and maddening. Josipovici says "this is what Kafka’s best fictions and images do to you: in a few plain and simple words they set your imagination going and refuse to provide it with a safe landing". This is the gift of Kafka's quest to become clear about ultimate things, "a gift we do not receive" as Blanchot says in the same passage. The gift of A Winter in Zürau is that it makes us aware of the distance between us and Kafka, a distance between us and awareness of distance, a distance from the loss of tradition, a distance between us and ultimate things, and so a distance from the deep roots of fiction, as one of Kafka's melded commentaries on myth describes: There are four legends about Prometheus. According to the first, because he betrayed the gods to men he was chained to a rock in the Caucasus and the gods sent eagles that devoured his liver, which always grew again. According to the second, Prometheus in his agony, as the beaks hacked into him, pressed deeper and deeper into the rock until he became one with it. According to the third, in the course of thousands of years his treachery was forgotten, the gods forgot, the eagles forgot, he himself forgot. According to the fourth, everyone grew weary of what had become meaningless. The gods grew weary, the eagles grew weary, the wound closed wearily. What remained was the inexplicable range of mountains. The great books by the great writers is an inexplicable mountain range we admire only from a distance. We hurry to name contemporary equivalents but we know something is missing. For Kafka, the horror and the undivine comedy of modern life was close enough in time to contrast with village life to sense what was lost so there remained a tension: "From the true antagonist boundless courage flows into you" he wrote in Zürau, a single sentence that many of us would pass over without pause but for the close attention Josipovici provides: "the agon or trial of strength was the fulcrum on which Kafka’s imagination turned" and cites the father in The Judgment, but then adds a crucial note: "The question is whether for modern man such an antagonist exists." Side two of this edition offers an answer. While Partita's features an Englishman with a Polish name on the run across Europe to escape a threat of death and then pursuing an unpredictable lover in variously dark, comic and surreal episodes, the title points away from the content just as music points away from itself. It has a non-musical meaning too: in Italian verb 'partire' means to leave, to go away, and the noun in the feminine describing someone who has left is 'la partita'. There are seven chapters each named after parts of the musical form; variations on a theme. In the Praeambulum, music is in the foreground when Michael Penderecki's host insists on playing Yves Montand singing Les feuilles mortes (Autumn Leaves) on his fancy record player: A quiet voice of great beauty begins to tell a story. It tells of memory and of those happy days when the sun always shone, days when we were friends; it tells of the dead leaves of autumn swept up into piles, like our memories and regrets. The dead leaves echo the fate of Kafka's true way, in this case one cleared by feet running into the future soon covered again as it becomes the past. The song recurs throughout the novel; a literary earworm reminding us that what ever joy we have, what ever hope we maintain, goes away. Everything passes. Perhaps this modern man's only potential antagonist, the one we confront in every waking moment while music and dreams are the ineffable reminders of escape, the promise and impossibility of escape that we seek anyway in flight from death and in pursuit of love; poles of the same earth. We exalt both with all kinds of rationales from the purely subjective to the purely technical, except music is heard and love felt differently to how we spell it out. In the novel it has a comic equivalence in Michael Penderecki's surname: his name may be spelled Penderecki but he irritates people by telling them it is pronounced Penderetzky. And with two otherwise incompatible books, we have two versions of the name. A Winter in Zürau spells out Josipovici's advocacy of formal adventure in writing as he follows Kafka sounding out the losses and paradoxes that haunt its necessity, while in Partita the antagonist can only be experienced in its pronunciation; it is experienced as it leaves us, forever there and forever out of reach. In this sense, Josipovici is radical as a critic and conservative as a novelist.

On this day in 2004, I posted the first entry on this blog.  In recent years many posts have reflected on the past and present of literary blogging (there is no future) so I will not go over that waste land again except to wish more had followed the example of This Space. One of the very few has been Dan Fraser's Oubliette, which he appears to have forgotten, but he has continued writing elsewhere, such as at A Personal Anthology and Radical Philosophy, the latter reviewing a book that has influenced the direction taken by this blog over the years; one might say the opposite direction. I'm always impressed by writers like Dan who can summarise a book with apparent ease. It's the one thing that slows me down, often to a halt. Although I see this as a personal failing, it may be a sign of what distracts from my true interests. With this in mind, last week Donald Clark, the learning theory guru who is himself very adept at summarising, posted a blog about Google's AI tool NotebookLM, which summarises books for you. I pasted my notes taken from various non-fiction books and was stunned by the breadth and clarity of what it delivered. If writing about literature can survive such technology it has to be in pursuing what rational exposition conceals, which in a literary blog may be found in its haphazard and discontinuous non-procedure. One feature of NotebookLM which Donald Clark says will blow your mind is its automated podcast featuring two chirpy American voices discussing what you have uploaded. Here's what they've got to say about my recent ebook: The Opposite Direction. I apologise in advance.

"Stupid" and "a marketing exercise" were the first two descriptions I saw of the New York Times' 100 Best Books of the 21st Century polled from hundreds of "literary luminaries" offering ten choices each, and while it is both of those things, "parochial" is the first word that comes to this non-American mind, and not only in the predominance of books written by Americans. The word also applies to "best", quietly amended in the standfirst to "the most important, influential books of the era", which is something else entirely.  A discussion of how "the best" may be defined would have led to a far more interesting feature, but of course it is the business of newspapers like the New York Times to contain critical thought, hence a billion social media responses such as "I agree with many choices, disagree with many others", a statement whose crippling banality highlights the crisis of authority hidden beneath such lists, with "the best" finding its foundation in the infinite shallows of personal taste. "It's all subjective, isn't it" an anxious friend of mine often said to shut down discussions of the merits of various books. Well, if reading is an encounter with something other than oneself – even if the other is within and there is an uncanny homecoming – reading then becomes a dislocation of the subject, so perhaps a book can be judged according to the quality of dislocation, something lacking in the home comforts of the New York Times list. The person who made the banal comment goes on to suggest as much: nobody picked a reviled book—a disturbing book—a book that is only loved by a few—a book that might resurface in 20 years as an unheralded and forgotten classic. Such a large poll makes this impossible. Even when an individual's choices are revealed, the selections are conservative (or hilarious in Sarah MacLean's case, demoralising in Karl Ove Knausgaard's). Many years ago James Wood was right to decline to take part in a poll to find "the best novel" in the final 25 years of the 20th century as he said people tended to choose the book they assumed worthy of such an accolade – a serious book about a serious subject – rather than apply some independent thinking to the question (Beloved came top). Especially shocking here is that the "literary luminaries" have chosen not only worthy books but those they merely enjoyed or admired – someone has chosen a novel published so recently they may not have even finished it. Imagine instead if someone from another time had written the email:  Hi, the New York Times here. Hope you're well. We'd like you to list ten books from this century that affected you like a disaster, that grieved you deeply, like the death of someone you loved more than yourself, like you were banished into forests far from everyone, like a suicide. By Thursday if possible. Kafka's proclamation is easily dismissed as teenage angst or, with more attention given to the historical conditions, an expression of the confusion and despair of a society metamorphosing from one world into another, but it raises the spectre of a book alien to a literary professional making a list. The same media that produces Best Book lists celebrates Kafka's novels as definitive of a certain time and assumes that by asking around like this it can recognise the books that define our own, except Kafka was only a peripheral figure in 1924, with his friends Franz Werfel and Max Brod much more likely to have made a Best Books of the 20th Century list in that year but whose work is more or less forgotten now. What this suggests is that the writing of such significance is untimely. Apart from the enjoyable and admiring kind of reading – industry-friendly reading – how might we recognise the untimely? In the book of fragments known as The Writing of the Disaster, Maurice Blanchot described three possibilities: ◆ There is an active, productive way of reading which produces text and reader and thus transports us. Then there is a passive kind of reading which betrays the text while appearing to submit to it, by giving the illusion that the text exists objectively, fully, sovereignly: as one whole. Finally, there is the reading that is no longer passive, but is passivity’s reading. It is without pleasure, without joy; it escapes both comprehension and desire. It is like the nocturnal vigil, that "inspiring" insomnia when, all having been said, "Saying" is heard, and the testimony of the last witness pronounced. We can see the first two kinds of reader – the connoisseur and the consumer – competing in the New York Times list, often difficult to distinguish one from the other, but what of the third? The experience of the list may be its revelation: overwhelmed by possibility, exhausted before even having begun to read, stalled in sleeplessness, the consumer can consume no more, not even a wafer-thin novella. We experience it elsewhere as the stack of 800-page novels grows a book higher every week, each an apparent summit and summa of art and civilisation, heralded by one and all as the incontrovertible refutation of The Death of the Novel and yet, in its maximal, long, approaching shadow, its terminal desire. The third is the testimony of a silence from and to which these books lead, and us its mute, impatient witness. The open, silent spaces of Blanchot's fragmentary writing may be their correlate, each novel straining to share the testimony of eternity – the untimely – in a merciful surplus of strength Blanchot calls the disaster. In the next entry, Blanchot says: To write in ignorance of the philosophical horizon—or refusing to acknowledge the punctuation, the groupings and separations determined by the words that mark this horizon—is necessarily to write with facile complacency (the literature of elegance and good taste). Hölderlin, Mallarmé, so many others, do not permit this. We see a great deal of elegance and good taste on the New York Times' 100 Best Books of the 21st Century list, but a glimmer of those that do not permit it?  Without commitment, without wishing to speak of "the best", and only out of propriety, I would point to the example of books written this century in which the philosophical horizon presents itself in form and content: well-known works like Jon Fosse's Septology, perhaps more accurately an anti-work, Coetzee's Jesus trilogy, and Knausgaard's My Struggle, all untimely in their way and one of which appears on the list, and lesser known works of fiction such as Tao Lin's Eeeee Eee Eeee, Dag Solstad's Novel 11, Book 18, Josipovici's Infinity, Vila-Matas' Bartleby & Co, Sam Pink's The Ice Cream Man and other stories, and non-fiction books presenting the horizon in more formal terms: Jeff Fort's The Imperative to Write, Josipovici's What Ever Happened to Modernism?, Quentin Meillassoux's The Number and the Siren, and Willem Styfhals' No Spiritual Investment in the World. Not one here, I suppose, that may be reviled or disturbing, so perhaps comment with your own suggestions of those otherwise unheralded, loved by a few.