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lit obits
3/7/2010
Translator, critic and BBC script editor, Barbara Bray, 1924 - 2010
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Barbara Bray, who has died aged 85, was one of the most significant links between British and French literature in the 20th century. She was the principal translator and an early champion of Marguerite Duras, who was her close friend, and also translated the work of Jean Genet, Jean-Paul Sartre, Jean Anouilh and Alain Robbe-Grillet. As a young and influential script editor at the BBC in the 1950s, she fostered the work of many writers including Harold Pinter and, perhaps most importantly, Samuel Beckett, who became her personal and intellectual partner for more than 30 years.
- from the obituary for Barbara Bray published in theGuardian by Andrew Todd.
Barbara Bray, apart from introducing Harold Pinter to Samuel Beckett, was also the BBC radio script editor who found and commissioned both men when they began their careers in radio drama, Beckett with All That Fall in January 1957 and Pinter with A Slight Ache in 1959.
Barbara Bray recalls: "the (BBC) Third Programme asked Sam to write them a radio play and though he never worked to commissions he said he would if he could. All That Fall aroused such interest among the general public and among writers that we thought it would be a good idea to introduce the public to Beckett's prose works. While we waited for him to write Embers we selected things from his works and there happened to be an invasion of Irish actors in the London theatre then. So we got people like Pat Magee and Jack McGowran to read bits from the so-called trilogy."
What then was the original reaction of the general public to the works of these two men both destined to become Nobel Prize winners? Barbara Bray explains:
"Pinter's first radio plays were met with remarks concerning the ravings of a lunatic, and similar things were said concerning Samuel Beckett readings, but after the second or third readings people began to get intrigued and began to get an ear for it as you do with music. New music is at first strange to you, then you listen to it a few times and you begin to get the hang of it. We did all Harold's radio plays on the Third Programme. Harold would write many of his plays first for radio, then they would become television plays and then stage plays. The tide was turning when authors realized that if they were going to distinguish themselves, it was going to be as much with their words as with their action."
Barbara Bray was one of the first producers to realize that such a change was taking place as, in the wake of John Osborne's Look Back In Anger (1956), the nature of the relationship between author and public was dramatically being transformed. She remembers: "the focus of drama switched back to the classical Shakespeare period when the word was more important than the action or at least as important as the action and where the stress was largely on the function of words in drama."
- from When Harry Met Sam by Declan McCavana.
Barbara Bray, editor and translator and four time winner of the Scott Moncrieff prize for translation, was born November 24, 1924 and died February 25, 2010.
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The Sailor From Gibraltar (Open Letter Modern Classics)
by
Marguerite Duras
Open Letter Books; Univ of Nebraska Press
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lit obits
1/30/2010
Tributes to People's Historian Howard Zinn, 1922 - 2010
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The best human being I've ever known. The best example of what a human can be, and can do with their life. - Daniel Ellsberg from A Memory of Howard
Howard Zinn broadened the battle when he claimed conventional U.S. texts and school courses failed by celebrating wars, legislation, Presidents, generals and captains of industry. He stood history back on its feet when he told on how masses of American women and men, people of color and poor whites built the country first as slaves and indentured servants, and then as mill hands, assembly line workers and maids. He further antagonized traditional scholars by rejoicing in the disobedience of slave rebels, union organizers and radical civil rights and anti-war agitators. He found dissidents to be America's real patriots and democrats -- not the George Washingtons, Thomas Jeffersons and Andrew Jacksons who talked of liberty while they traded in slaves, and sent posses after those who escaped.
- William Loren Katz from Changing History
He really conveyed to everyone he came into contact with that there was no more meaningful action than to be involved in struggle, no more fulfilling or important way of living one’s life than in struggle fighting for justice. And so many people, myself included, but, you know, millions of people around the world, countless number of people, they changed their lives by encountering Howard Zinn—Howard changed their lives—reading A People’s History of the United States, hearing one of his lectures, meeting him, hearing him on the radio, reading an article he wrote. He really inspired people to create the kinds of movements that brought about whatever rights, whatever freedoms, whatever liberties we have in this country. And that really is the legacy that it’s incumbent upon all of us to extend and keep alive and keep vibrant. - Anthony Arnov from DemocracyNow!.
Anyone who believes that the United States is immune to radical politics never attended a lecture by Howard Zinn...What matters is not who's sitting in the White House. What matters is who's sitting in!" he would say with a mischievous grin. - Dave Zirin from Howard Zinn: The Historian Who Made History
His writings have changed the consciousness of a generation, and helped open new paths to understanding and its crucial meaning for our lives. When action has been called for, one could always be confident that he would be on the front lines, an example and trustworthy guide.
- Noam Chomsky quoted by Mark Feeney and Bryan Marquard from Howard Zinn, historian who challenged status quo, dies at 87
No American historian has left a more lasting positive legacy on our understanding of the true nature of our country, mainly because his books reflect a soul possessed of limitless depth. Howard's People's History Of The United States will not be surpassed. As time goes on new chapters will be written in its spirit to extend its reach. - Harvey Wasserman from How the Great Howard Zinn Made All Our Lives Better
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A People's History of the United States: 1492 to Present
by
Howard Zinn
Harper Perennial Modern Classics
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lit obits
1/2/2010
At 42, she was one of the best poets of her generation, Rachel Wetzsteon, 1967 - 2009
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"At 42, she was one of the best poets of her generation", writes Adam Kirsch in memory and admiration of Rachel Wetzsteon who took her own life on Christmas day, 2009.
"In a perfect world", Kirsch wrote earlier, "Rachel Wetzsteon would be one of the most popular poets of her generation. You would see people in the outdoor cafes along Upper Broadway reading copies of Sakura Park, her third collection, the way pilgrims to Greenwich Village carry Scott Fitzgerald or Edna St. Vincent Millay...Wetzsteon’s poems are odes to sharpened senses, to possibilities held open, and to the city whose own sharp openness seems like a standing invitation"
(Adam Kirsch, from a Contemporary Poetry Review of Sakura Park
by Rachel Wetzsteon).
Gold Leaves
Someone ought to write about (I thought
and therefore do) stage three of alchemy:
not inauspicious metal turned into
a gilded page, but that same page turned back
to basics when you step outside for air
and feel a radiance that was not there
the day before, your sidewalks lined with gold.
Five-Finger Exercise
When things get hot and heavy this weekend or one August
twenty years from now, and I start tapping hexameters
up and down the shoulder-blades of my beloved (insert
auspicious, trustworthy-sounding, stolid but fun name here
for I can conjure none), I hope I do it right,
never losing sight of the skin whose golden toughness
allows the counting, never moving my fingers so briskly
that I can't hear his breathing, and never forgetting, even
in the lonely heights of sublimest inspiration—
What is your substance?... O rose ... and grey and full of sleep—
to flip the warm flesh over and whisper, It had to be you.
- two poems by Rachel Wetzsteon published in The Corland Review.
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Sakura Park: Poems
by
Rachel Wetzsteon
Persea
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lit obits
12/27/2009
You have to decide which side you are on: there is always a side. Commitment does not exist in an abstraction; it exists in action: Dennis Brutus, 1924 - 2009
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For almost half a century Dennis Brutus was at the forefront of the campaign to bring down the apartheid system in South Africa, the place where he was born and which gave him the awareness of racism, poverty and injustice that has informed his work ever since. In 1963 Brutus was shot by the police in South Africa and later imprisoned for 18 months alongside Nelson Mandela on Robben Island. After being exiled from his homeland, Brutus became a prominent political organizer, who in 1970 led the successful campaign to expel apartheid South Africa from the Olympic Games. While working as a university lecturer in the US, he also became a pioneering advocate of postcolonial studies within academia, helping to introduce African literature as a category within the curriculum....
Without doubt, there is a certain Audenesque quality about Brutus's own poetry, in particular in his ability to move from personal feeling to the spirit of the collective - the shared hopes and fears of people who are usually on the receiving end of history. To use poetry as a means of fighting back against the forces of oppression and exploitation is for Brutus not just an intellectual choice but an existential cry from the heart for social change to come sooner rather than later:In the dark lanes of Soweto,
amid the mud, the slush, the squalor,
among the rusty tin shacks
the lust for freedom survives stubbornly
like a smoldering defiant flame
and the spirit of Steve Biko moves easily. Auden's poem "Spain 1937" is a particular point of reference in another poem by Brutus - "Love; he Struggle." When Auden writes "To-morrow he rediscovery of romantic love ... but to-day the struggle," Brutus paraphrases this radical postponement with his own dialectic of personal freedom and political necessity: Conched, contrapuntal our concord
Day's breath wracks our peace,
Our dreams disrupt in blustery discord
Buckling to winds' capricious buffet we desert our calms
- Ah love, unshoulder now my arms! Like the early Auden, Brutus also sees his role as that of a public poet, "the world's troubadour" as he describes himself, one who seeks to give a voice to those whom the system has silenced. There is therefore in Brutus's poetry an implicit sense of radical dialogue with people whose lives remain outside the focus of the established media. This is where the real struggle s taking place, and it is within this context of solidarity with the dispossessed that Brutus has always situated himself as a writer: An old black woman,
suffering,
tells me I have given her
"new images"
- a father bereaved
by radical heroism
finds consolation
in my verse.
then I know
these are those I write for
and my verse works.
- Ronal Paul, from a review of Poetry and Protest: A Dennis Brutus Reader that originally appeared in Socialism and Democracy, issue 21, and has been reprinted if full at AfricaResource.
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Poetry and Protest: A Dennis Brutus Reader
by
Dennis Brutus
Haymarket Books
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lit obits
11/8/2009
Claude Lévi-Strauss, 1908 - 2009, his works as a practical anti-racist manifesto
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"I don't know if everyone read the works of Lévi-Strauss as some sort of practical anti-racist manifesto, infinitely more efficient than big Satre-like declarations. But for me, his works had this effect. Given my working conditions, what I was doing, I was bound to be touched by his work. There was his beautiful text "Race and History", which was an important text and theoretical manifesto. What I see as even more potent, are the analysis operations themselves, which abstract from absurdity the things that were most stigmatized in particular by racism: things like rituals, wedding practices, or sexual traditions, etc... Without Lévi-Strauss's intention to rehabilitate anyone, the mere fact of making science was also a political act. In that way, it's the new figure of the intellectual who doesn't speak about everything, as a prophet would. Max Weber says: "A prophet is the one answering in a total way to total questions." Philosophers such as Satre are still admirable and can be also important: "The prophet speaks when nobody knows what to say anymore." Periods of crisis, etc. But at the same time, we were a bit tired of that kind of discourse, as prophets can often speak in the void, at the wrong time. So, someone telling us: "See, we can understand. We can analyse. There are conceptual tools, for understanding things that seemed incomprehensible, unjustifiable, absurd..." I think it was a very important thing." - Sociologist Pierre Bourdieu on Claude Lévi-Strauss from youtube (translation).
"Lévi-Straussian structuralism turned on the notion that the human brain is essentially a computerlike organ operable only by a binary code. And Claude Lévi-Strauss argued that this basic binary logic is always the same everywhere, a universalist argument if ever there was one, framed in terms somewhat narrower than what anyone has ever attributed to Chomsky. And yet Lévi-Strauss--a student of Franz Boas, Ferdinand de Saussure and Karl Marx--understood his emperical investigations, collectively, as a demonstration of relativist, semiotic and Marxian principles. That is, his work tracks the same binary oppositions (up/down, high/low, in/out, hot/cold) across cultures and through history, but it also shows that those basic building blocks of human existence can be put together in any number of patterns, that they can be mobilized to very different ends. In Lévi-Strauss's opus, then,one encounters basic similarities in the context of larger differences: The irreducible element of culture are everywhere the same, but cultures are everywhere different." - from The Trouble with Nature by Roger N. Lancaster.
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Tristes Tropiques
by
Claude Levi-Strauss
Penguin
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lit obits
11/7/2009
Power exercised by man over his fellow man is always a usurpation, Francisco Ayala, 1906 - 2009
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Born in Granada on March 13, 1906, novelist and sociologist Francisco Ayala was one of Spain's leading intellectuals for the second half of the twentieth century. Ayala died Tuesday at age 103. He had long outlived the dictatorship of General Francisco Franco which had led him to flee into exile in 1939 and influenced, in the words of T. Rees Shapiro, "the enduring theme of his literary career -- the toxic effect of power". Although Francisco Ayala taught at leading American universities for over 20 years, very few of his works are available in English. He was the author, however, over 50 books and was the winner of many prestigious literary awards including the Cervantes Prize in 1991 and the Prince of Asturias Prize for Letters in 1998.
In Mr. Ayala's novels, characters trudged through lives of moral and political chaos. "Death as a Way of Life" (1964), initially published in Spanish a few years earlier as "Muertes de Perro," describes a South American country under a totalitarian government. Another of his works, "Los Usurpadores" ("The Usurpers," 1949), was a collection of short stories he wrote in Argentina and examines the immorality of the abuse of power.
In one story from the collection, "The Bewitched," a Spaniard during the Middle Ages spends his life fighting bureaucracy and trying to gain an audience with the king. When he is finally granted a visit with the monarch, he finds the ruler so mentally and physically handicapped that he can't speak coherently, let alone govern a country. Argentine writer Jorge Luis Borges was reported to have called the story "a masterpiece of Hispanic literature."
"The Inquisitor," another notable story in "The Usurpers," focuses on a grand rabbi who converts to Catholicism and is so fanatical in his prosecution and devoted to proving the purity of his faith he doesn't spare his only daughter from arrest when she denounces his work.
The book's theme, Mr. Ayala wrote in the introduction, was "power exercised by man over his fellow man is always a usurpation."
- from the Washington Post obituary by T. Rees Shapiro.
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Usurpers (Penguin Twentieth Century Classics)
by
Francisco Ayala
Penguin Classics
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lit obits
10/14/2009
The Potato that Became a Tomato, Playgiarist Raymond Federman, 1928 - 2009
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You're born a playgiarizer or you are not. It's as simple as that. The laws of playgiarism are unwritten, it's a tabou, like incest, it cannot be legalized. The great playgiarizers of all time, Homer, Shakespeare, Rabelais, Diderot, Rimbaud, Proust, Beckett, and Federman have never pretended to do anything else than playgiarizing. Inferior writers deny that they playgiarize because they confuse plagiarism with playgiarism, not the same. The difference is enormous, but no one has ever been able to tell what it is. It cannot be measured in weight or size. Plagiarism is sad. It cries, it whines. It always apologizes. Playgiarism on the other hand laughs all the time. It makes fun of what it does while doing it. - Raymond Federman on playgiarism from An Interview With Ray Federman
No single writer of our age has captured the true spirit of Diogenes more than Raymond Federman. No, not even his old friend Samuel Beckett whom he idolises and quotes at every opportunity. But then Federman was the very first Beckettian. When his Ph.D. board challenged Federman that Beckett was a charlatan, he retorted angrily “You’ll see, Beckett will win the Nobel prize for literature in ten years time”---he predicted the exact year! Federman integrates all of the essential modes of cynical discourse: action, laughter and silence into his prolific writing. The victim who refuses to see himself as a victim, was given in that small closet not only the gift of life, but the gift to make others laugh---laugh at a world that he knows to be truly absurd, laugh at himself, laugh at The Laugh That Laughs At The Laugh. - from Raymond Federman: Cynic by Ian Cutler, author of Cynicism From Diogenes To Dilbert.
THE POTATO THAT BECAME A TOMATO
Oh! the potato
the po ta to
the po to ta
the pa to to
the to pa to
the ta to pa
the po to ma
the pa mo to
the po ma to
the ta po mo
the po mo to
the po to po
the pa to ta
the ma to po
the ma pa to
the to mo pa
the mo ta to
the to to ma
the ma to to
the to ta mo
the to ma ta
the to ma to
Ah! the tomato
ACRO
BATICS
Y
O U
give a work out
to your essential muscle
and all your other muscles
essentially
also get a work out
*****
***
*
therefore
exercise your
essential muscle
as often as possible
so that
IT
stays
I N
g
o
o
d
shape
to make
all your other
muscles also profit
- two of five anti-poems by Raymond Federman
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Double or Nothing
by
Raymond Federman
Fiction Collective 2
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lit obits
9/30/2009
Milton Meltzer, 1915 – 2009
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"Meltzer was one of the first in a new wave of nonfiction writers who brought lively and passionate writing, grounded in original source material, to middle-grade students and young adults, without talking down to them." – Lisa Von Drasek, Children's librarian at the BankStreet College of Education (from the New York Times obituary written by Dennis Hevesi).
Meltzer's first title was published in 1956 — written at the same time the historic case of Brown v. Board of Education was making its way through the courts, before Rosa Parks decided to challenge the laws of Jim Crow, long before the term political correctness had been uttered. He chose as his subject the struggle of African Americans to achieve freedom and equality. Meltzer's goal was to interest the broadest possible audience and to present information in such a way that even a casual reader could be persuaded to dig more deeply into the subject. In conceptualizing this project he browsed his own library and found two volumes that had the kind of visual appeal he sought — one on life in America and another on science and invention; both books used a highly pictorial, oversized format.
Writing a book of social import, especially a book about real people and events, suggests a particular understanding of audience. From the beginning, Meltzer saw his readers as people anxious for a truly inclusive historical record, as well as people hungry for information. In this volume, as in all of his nearly one hundred titles, Meltzer made available to readers what has come to be a hallmark of his work — original sources including photos, documents, drawings, and even advertisements. Mentored by his co-author Langston Hughes, the book served up what Ossie Davis, in his introduction to another of Hughes and Meltzer's books, Black Magic (1967), calls "art in action." - Wendy Saul, from her profile of Milton Meltzer written on the occasion of his receiving the Laura Ingalls Award in 2001.
THIS IS A BOOK ABOUT COURAGE. NOT THE COURAGE IT takes to go into battle, but the courage to organize resistance to war when a fever for it inflames the country, and the courage to refuse military service under pain of being called a coward and enduring the threat of prison or even execution. In the 1980s, refusal to register for the draft within thirty days of a man's eighteenth birthday could bring penalties of up to five years in prison and a ten thousand-dollar fine. Yet of the twelve million or more young Americans required to register for the draft by the middle of 1984, five hundred thousand had not a much higher proportion than in the early years of the Vietnam War.
At eighteen, or approaching that age, men had to decide whether to register for the draft. Facing that decision, a surprising number of the "me" generation who were coming of age during the eighties were saying, "Not me." It appeared that an antidraft, anti-intervention movement had resurfaced-a sign that a considerable number of young people would no longer blindly follow our leaders into war.
If you ask, "What war?" the box score on mass violence around the world provides the answer. Let's take just the early 1980s:
- Forty-five of the world% 164 nations were involved in wars. Estimates of the number of people killed range from one million to five million.
- There were ten conflicts in the Middle East Persian Gulf, another ten in Asia and Africa, seven in Latin America, and three in Europe. Five of these were conventional wars between nations and twenty-five were internal guerrilla struggles.
- In 1981, the forty-five nations involved in conflicts spent more than $528 billion on their armed forces. The United States and the USSR and its satellites were the major suppliers of their military weapons.
Facts, facts, facts. "We are the best informed people on earth ' " said the poet Archibald MacLeish of his fellow Americans. "We are deluged with facts, but we have lost or are losing our human ability to feel them."
…School histories emphasize the importance of war. But they ignore, for the most part, the story of resistance to war. Yet resistance does have a history, and surely we should know something about it. No wars fought by the U.S. have ever had the full support of all Americans. And some of the wars-both a long time ago and very recently-were met with open and powerful resistance.
It's impossible to think of any other subject that can match this in importance-for today and for our future.
- excerpted from Ain't Gonna Study War No More by Milton Meltzer.
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Ain't Gonna Study War No More: The Story of America's Peace Seekers
by
Milton Meltzer
Random House Books for Young Readers
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lit obits
9/14/2009
Iconic poet and punk rocker, Jim Carroll, 1950 - 2009
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I met him in 1970, and already he was pretty much universally recognized as the best poet of his generation. The work was sophisticated and elegant. He had beauty. - Patti Smith on Jim Carroll from a telephone interview.
Jim Carroll, the poet and punk rocker in the outlaw tradition of Rimbaud and Burroughs who chronicled his wild youth in “The Basketball Diaries,” died on Friday at his home in Manhattan. He was 60...
Mr. Carroll led a chaotic life that combined sports, drugs and poetry. This highly unusual combination lent a lurid appeal to “The Basketball Diaries,” the journal he kept during high school and published in 1978, by which time his poetry had already won him a cult reputation as the new Bob Dylan...
Jim Carroll music career started by accident when Ms. Smith brought him onstage to declaim his poetry with her band providing background. Encouraged by the response, he formed his own band. It caught the attention of Keith Richards of the Rolling Stones, who arranged a three-record deal with Atlantic Records...
The critic Stephen Holden described Mr. Carroll in The New York Times in 1982 as “not so much a singer as an incantatory rock-and-roll poet.” Like Lou Reed, he had a mesmerizing power, evident on songs like “People Who Died” from “Catholic Boy,” a poetic litany of his dead friends that became a hit on college radio and part of the soundtrack for “E.T.: The Extra-Terrestrial.” - from the New York Times obituary by William Grimes.
It must be strange to just fall from the stage
and snap a bone that is so close to the brain
And be attended to by so many down below
I saw a doctor tie you up from so far above
And you start sinking just like light through a black floor
You’d start sliding like burned skin [sounds like "to a side door"]
But crow, when you throw yourself under
Singin's hard when you can't lose control
They don't know, to them in the dark you don't whisper nothin'
And they're' all gonna try and rip the wind from your soul
Musta been hard to be a cashier in a bookstore
And to be surrounded by the history of your true loves
And you'd get naked between the deep shelves in the back room
And have your brain get tan by sharp fluorescent light tubes
And you start spinning like the pillars in the temple
You'd start screaming just like Sister Aimee Semple
But Crow, when you throw yourself under
The streets are hard when you cannot lose control
They don't know, to them the dark don't whisper nothin'
And they're all gonna try and rip the wind from your soul . . . Crow
It was so sweet when you brought donuts to the junkies
[Hey, you'd?] give us something we'd go slip into our coffee
And we'd start reading lines from poems that didn't matter
You covered me with blankets in the Chelsea Hotel lobby
And I’d start reachin' for the scar along your belly
They'd start takin' us ‘cause winning is their hobby
But Crow, when you throw yourself under
The streets are hard when you cannot lose control
They don't know, to them the dark don't whisper nothin'’
And they're all gonna try and rip the wind from your soul . . . Crow
- Crow, a song Jim Carroll wrote about Patti Smith (from Catholic Boy by the Jim Carroll Band, 1980)
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The Basketball Diaries
by
Jim Carroll
Penguin (Non-Classics)
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lit obits
8/9/2009
Israeli writer Amos Kenan, 1927 - 2009
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The Israeli writer and artist Amos Kenan died this past week aged 82.
Born in Tel Aviv in 1927 and a veteran of the 1948 Arab-Israeli war, Kenan was a journalist who wrote for the newspapers
Haaretz, Yediot Aharonot and Haolam Haze, and a painter, sculptor,
poet, playwright and writer of fiction.
Always associated with the secular left, Amos Kenan was one of the most outspoken and
radical critics of Israeli society. In the 1940s, he was one of several artists and intellectuals belonging to the anti-Zionist and anti-religious Canaanite movement who sought to create an Israeli identity without Judaism by rejecting Jewish history and harking back to the biblical Canaanites. He saw Israelis as a new creation having more in common with Palestinian Arabs than with the Jewish Diaspora. In 1957 at a time when few Israelis recognize the
existence of Palestinians as a national group, Kenan together with the journalist and peace activist Uri Avery wrote a manifesto
where they advocated the creation of a Palestinian state in
federation with Israel. "Amos Kenan was one of the creators of Hebrew culture", said Avery, "Hebrew, not Jewish". See Uri Avnery's Amos Kenan- Lover of the Country for his eulogy over Amos Kenan.
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The Road To Ein Harod
by
Amos Kenan
Saqi Books
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