Because it’s his birthday. Although I don’t really need an excuse to post this video. It is eloquence its own self.
Because it’s his birthday. Although I don’t really need an excuse to post this video. It is eloquence its own self.
Just out, and free for download (though if you want to pop for the printed version at $45 I’m sure no one will complain), Zaporogue #10, a wonderful anthology edited by the formidable tri-lingual (at least) writer Sébastien Doubinsky. This 261 page edition contains work in English and French [...]

Just out, and free for download (though if you want to pop for the printed version at $45 I’m sure no one will complain), Zaporogue #10, a wonderful anthology edited by the formidable tri-lingual (at least) writer Sébastien Doubinsky. This 261 page edition contains work in English and French by luminaries like Vanessa Veselka, me, Anne-Sylvie Homasse, me, Lisa Thatcher, me, Matt Bialer, me, and many more, including me.
You can download it for free in the popular PDF format by clicking here. You will not regret doing so. Or your money back (see, that’s funny because it’s free so I don’t have to give you any money back).
I’m unreasonably fascinated by this French “punk” band from the mid-70s, which evolved into the sort of French “New Wave” duo in the next video in 1980. Because I am unkind I’m going to inflict my fascination on you. Happy Wednesday!
I’m unreasonably fascinated by this French “punk” band from the mid-70s, which evolved into the sort of French “New Wave” duo in the next video in 1980. Because I am unkind I’m going to inflict my fascination on you. Happy Wednesday!
I wrote a whole essay urging a reassessment of Sofia Coppola’s critically-maligned post Lost In Translation films to go with this screen-cap from Marie Antoinette (2006), but the more I look at the screen-cap, the more I realize that nothing I could write would be nearly as persuasive as the [...]

I wrote a whole essay urging a reassessment of Sofia Coppola’s critically-maligned post Lost In Translation films to go with this screen-cap from Marie Antoinette (2006), but the more I look at the screen-cap, the more I realize that nothing I could write would be nearly as persuasive as the image above. Cop-out? Peut-être, mais au fond je m’en fous.
The new issue (number 32) of SmokeLong Quarterly is up. I have a story in it called “Elephants.” My story was chosen by guest editor Ben Loory, and to accompany the story he interviewed me here.
Aside from the me part, the issue is stuffed with excellent writing by lots of excellent writers. [...]

The new issue (number 32) of SmokeLong Quarterly is up. I have a story in it called “Elephants.” My story was chosen by guest editor Ben Loory, and to accompany the story he interviewed me here.
Aside from the me part, the issue is stuffed with excellent writing by lots of excellent writers. You need to check it out right away, or risk angering the literary gods. Who are ruthless. Ruthless.
Sloe-eyed through the sun-loved streets, winding her hair around one winding finger, walks and walks on sandaled feet a small thin girl. Pastel houses pass in succession, peopled by darkly gazing men with small thin mustaches and almond-shaped eyes. She feels their eyes on her but does not respond. Heat rises in slow layers [...]

Sloe-eyed through the sun-loved streets, winding her hair around one winding finger, walks and walks on sandaled feet a small thin girl. Pastel houses pass in succession, peopled by darkly gazing men with small thin mustaches and almond-shaped eyes. She feels their eyes on her but does not respond. Heat rises in slow layers from the cream-colored street, admires itself in a series of wavering windows, stretches towards the glassy sky.
Her head, its slender brown chin thrust forward in defiance of the heat, does not waver. She moves without obvious effort, the motion of her limbs supple and fluid, each movement discrete, contained, yet inseparably connected to every muscle and thought she wills to stir.
The small thin girl passes by without looking a cafe with three sidewalk tables. Two are empty; at the third, in the inadequate shade of an awkwardly poised umbrella anchored to the ground by a battered tin base, sit two men drinking coffee.
The first is a young man with a deep tan wearing a shortsleeved white shirt and tan pants. He has crossed his legs so that the ankle of one rests on the knee of the other. The second is older, with sparse graying hair and sunburned jowls. He wears a green wool jacket despite the heat, and dabs at his face constantly with a wrinkled handkerchief.
“I’m not sure she has it in her to be faithful,” says the slender dark man, poking idly at his coffee with a small silver spoon. He taps the spoon on the rim of the cup before returning it to the saucer.
“Better, perhaps, to say she has it in her not to be faithful,” replies his companion. “As we all do. Fidelity is not a naturally-occurring condition in man or woman. It requires, I think, an exercise of the will.”
“You think. A pretty thought. So I should wonder instead if her will is strong?”
“She is a woman. Her will is strong. Better, perhaps, to ask the question of yourself.”
The younger man falls silent and his silence is like a parody of thought. At one point he closes his eyes. His lashes are long and curl upwards, and when his eyes are closed look like a collection of tiny question marks.
The small thin girl reaches the end of the street, which deadends on a narrow stretch of beach. A stone balustrade lines the entrance to the gentle slope down to the water’s edge. She leans over the balustrade, into the wind, her eyes closed; she wills the waves to the shore and they come, endlessly. She wills the sun to set and, with great reluctance, the sun describes a slow downward arc in the sky.
My feet are ankle-deep in surf. I watch the girl as she turns and walks back through the town, her sandals flapping on the soles of her feet, on the cream-colored street; she stops in front of the cafe and sits at the table where the two men have just left. Their coffee cups and a few torn and empty packets of sugar are cleared by a waiter with almond-shaped eyes and a thin mustache.
I trace a mark in the wet sand with my toe. A line drawn in the sand is like a dream of impermanence, no less evocative for its overuse. I draw a line, I say “Thus far and no farther,” the ocean takes a foamy finger and playfully erases my hasty sketch.
“The purpose of longing is to teach humility,” says the older man, his jacket now slung over his shoulder as he steps carefully down to the beach, his shoes hanging from two fingers of one hand.
The younger man is three paces in front, and looks back. “But what’s the purpose of humility?” he asks.
The older man chooses not to answer: his eyes have a faraway look, he stops walking and stares out at the sea. His gaze remains fixed for some minutes on the horizon. “Time doesn’t fly, it sinks or swims,” he eventually murmurs, smiling. “No wonder I’m so tired.”
The waters recede, and I draw another line.
Still from Mimesis, a short film I made.
Trivium: from Latin, meaning “the three ways,” or “the three roads.” In medieval universities, the trivium denoted the three subjects of primary study: grammar, logic, and rhetoric.
Wind snapped a branch outside and he woke. Dark of night had swallowed the room. Only [...]
Still from Mimesis, a short film I made.
Trivium: from Latin, meaning “the three ways,” or “the three roads.” In medieval universities, the trivium denoted the three subjects of primary study: grammar, logic, and rhetoric.
Wind snapped a branch outside and he woke. Dark of night had swallowed the room. Only blurred and mobile shapes. Shadows and deeper shadows.
At first, he could not remember where he was, nor who he was. Darkness has no lines, only depth, he thought. His eyes, adjusting to the murk, recovered what might be a chair, what might be a lamp, what might be….
“Whatsoever the world terms happiness, is to me a story out of Pliny, an apparition, or neat delusion, wherein there is no more of happiness than the name.” Sir Thomas Browne, Religio Medici.
“I believe that our estranged and divided ashes shall unite again; that our separated dust, after so many pilgrimages and transformations into the parts of minerals, plants, animals, elements, shall at the voice of God return into their primitive shapes, and join again to make up their primary and predestinate forms. As at the creation there was a separation of that confused mass into its species; so at the destruction thereof there shall be a separation into its distinct individuals.” Ibid.
“Inner duration, perceived by consciousness, is nothing else but the melting of states of consciousness into one another, and the gradual growth of ego.” Henri Bergson, Time And Free Will.
“An uneven number of vowels in given names portends lameness, blindness, or similar disability on the right side; an even number of vowels the same disability on the left.” Pliny, Natural History, Book XXVIII.
Okay, so here’s the books I’ve read in French so far this year. Or at least the books that I could be bothered to go find on my bookshelves or piled on the floor in my office and on my bed or all over the table in the dining room or on the second shelf [...]
Okay, so here’s the books I’ve read in French so far this year. Or at least the books that I could be bothered to go find on my bookshelves or piled on the floor in my office and on my bed or all over the table in the dining room or on the second shelf of the coffee table in the living room or just, you know, on top of the refrigerator (and more than once inside the refrigerator; I’m always amazed at what I manage to leave in the refrigerator when distracted). Or wherever else.
I’m not providing links to these because either you can’t find the editions I have, because when I’m in Paris or any city in France or even in the countryside I am drawn like a wood-worm to bookish places and have had really good luck finding things without looking for them, or they’re really easy to find. Everything on this list I recommend, if you can read French at all, though certainly most of this stuff requires a fair degree of fluency. Except for Houellebecq. He writes like a fourth-grader. But I still like his new novel —the one that (finally) won him the Goncourt — despite not usually having much interest in his output.
As always, stuff I re-read for research or for some other reason is indicated with an asterisk. Non-asterisked items are new-to-me, though not necessarily new.
1. Alain Robbe-Grillet, Un roman sentimental, Fayard
2. Boris Vian, Manuel de Saint-Germain-des-Prés (coffret), Livre de Poche
3, 4. Chateaubriand, Memoires d’Outre-Tombe, Tomes 1 & 2, Bibliotheque de la Pléiade (1958) *
5. Claude Simon, Le Jardin des Plantes, Les Éditions de Minuit *
6. Edouard Dujardin, Les lauriers sont coupés, Flammarion *
7. Ernest Renan, Vie de Jésus, Gallimard *
8. Frédéric Révérend, L’Invention d’un château suivi de Le Coffre meurtrier, Éditions de l’Amandier
9. Gustave Flaubert, Madame Bovary, Livre de Poche *
10. Henri Bergson, Matière et Memoire, Librairie Félix Alcan (1934) *
11. J-K Huysmans, A rebours, Flammarion *
12. Jean Cocteau, Les parents terribles, Gallimard (1938)
13. Jean-Laurent Cassely, Paris: Manuel de Survie, Parigramme
14. Jean-Patrick Manchette, Fatale, Folio Policier
15. Jean-Patrick Manchette, La Position du tireur couché, Folio Policier
16. Joseph Bédier, Le roman de Tristan et Iseult, L’Édition d’Art (1946)
17, 18, 19, 20. Marcel Proust, A la recherche du temps perdu, Tomes 1, 2, 3, 4, Bibliotheque de la Pleiade *
21. Maurice Blanchot, L’arrêt de mort, Gallimard
22. Michel Foucault, Les mots et les choses, Gallimard (1966) *
23. Michel Houellebecq, La carte et le territoire, Flammarion
24. Michel Vianey, En attendant Godard, B. Grasset (1967)
25. Nathalie Sarraute, Les Fruits D’Or, Gallimard
26. Octave Mirbeau, Le Jardin des Supplices, Bibliotheque-Charpentier (1922) *
27. Pierre Clementi, Quelques messages personnels, Gallimard
28. Pierre Teilhard de Chardin, Le phénomène humain, Éditions de Seuil
29. Raymond Queneau, Zazie dans le Métro, Olympia Press (1959) *
30. Raymond Roussel, Nouvelles Impressions d’Afrique, Princeton
31. Robert Pinget, Mahu ou Le Matériau, Les Éditions de Minuit *
32. Robert Pinget, Taches d’Encre, Les Éditions de Minuit *
I don’t know what is the what with today, but everybody on the internet decided to be nice to me and it’s not even my birthday (yet).
First, the estimable writer Patrick Wensink wrote a nice piece about me at the really great We Who Are About To Die lit-site here. You [...]

I don’t know what is the what with today, but everybody on the internet decided to be nice to me and it’s not even my birthday (yet).
First, the estimable writer Patrick Wensink wrote a nice piece about me at the really great We Who Are About To Die lit-site here. You should check out the posts about other much more interesting subjects while you’re there.
Next, the good people at iambik audiobooks posted an interview with me and Tadhg Hynes, the brilliant reader of The Failure audio book, and Miette, the equally brilliant, um, head narrator? Curator? Anyway, she does a lot of stuff over at iambik and her questions were boss. So were Tadhg’s questions. My answers can be evaluated here.
Hopefully no one else will do anything to call attention to me today because I am already filled with shame and self-loathing as it is.
As promised in this post, here is a list of the non-fiction books I’ve read thus far in 2011, either written in or translated into English. Almost everything on here was read for purposes of research, with the exception maybe of the books on/by Godard and Tarkovsky. Though I would argue that these [...]

As promised in this post, here is a list of the non-fiction books I’ve read thus far in 2011, either written in or translated into English. Almost everything on here was read for purposes of research, with the exception maybe of the books on/by Godard and Tarkovsky. Though I would argue that these are more or less essential reading for anyone in the film business.
I’ve indicated those which are (thorough) re-reads with an asterisk. Unlike my fiction list, the inclusion of a book here does not constitute a recommendation. In fact, some of them were so awful they made me throw them across the room. But I had to read them, for professional reasons. That said, Ben Schwartz’ compendium of comics criticism and Richard Brody’s book on Godard deserve some kind of special merit badge for general excellence.
In several cases I haven’t provided links, because the version of the book I own is long out of print and I’m too lazy to find out if a contemporary iteration exists.
The final part of this list will concern itself with books I’ve read in the first half of 2011 that were written in French. The French books on this list I read in translation out of lassitude or dread.
1. Alistair Horne, Seven Ages of Paris, Vintage
2. Andrei Tarkovsky, Sculpting In Time, University of Texas*
3. Augustin Thierry, Tales of the Early Franks, Translated by M.F.O. Jenkins, University of Alabama
4. Ben Schwartz, ed., The Best American Comics Criticism, Fantagraphics
5. Bob Mould, See A Little Light, Little, Brown
6. Caroli Linnaeus, Philosophia Botanica, Joannis Trattner (1763)*
7. Charles Mackay, Extraordinary Popular Delusions and the Madness of Crowds, L.C. Page and Co.*
8. Daniel J. Boorstin, The Image: A Guide to Pseudo-Events in America, Vintage
9. Desiderius Erasmus, The Praise of Folly, Norton*
10. Elaine Pagels, The Gnostic Gospels, Vintage
11. Erwin Schrödinger, Statistical Thermodynamics, Dover
12. G. K. Chesterton, Orthodoxy, Ignatius
13. Geoffrey of Monmouth, The History of the Kings of England, Penguin Classics
14. George Orwell, Homage to Catalonia, Harcourt
15. George Santayana, Scepticism and Animal Faith, Dover*
16. Greil Marcus, Lipstick Traces, Belknap/Harvard*
17. Guy Debord, Society of the Spectacle, Black & Red*
18. Harvey F. Berlin and Darrell Ruhl, Ed., Blake and Swedenborg, Swedenborg Foundation
19. Immanuel Kant, Prolegomena to Any Future Metaphysics, The Library of Liberal Arts*
20. Italo Calvino, The Complete Cosmicomics, Penguin Classics
21. Jacob Boehme, The Signature of All Things, James Clarke*
22. Jacques Derrida, The Gift of Death, Translated by David Wells, University of Chicago*
23. James Clerk Maxwell, Matter and Motion, Dover
24. Jean Cocteau, Past Tense: The Cocteau Diaries, Vol. One, Translated by Richard Howard, Harcourt Brace Jovanovic*
25. John Cook, Our Noise: The Story of Merge Records, Algonquin
26. John Henry Newman, Apologia Pro Vita Sua, Everyman*
27. John Sellers, Perfect From Now On, Simon & Schuster
28. Jon Savage, England’s Dreaming, St. Martin’s Griffin*
29. Jonathan D. Spence, The Memory Palace of Matteo Ricci, Penguin
30. Kaya Oakes, Slanted and Enchanted: The Evolution of Indie Culture, Henry Holt
31. Ludwig von Beethoven, Letters, Journals, and Conversations, Translated by Michael Hamburger, Thames and Hudson
32. Mao Tsetung, Quotations From Chairman Mao Tsetung, China Books
33. Martin Buber, I And Thou, Simon and Schuster*
34. Michael Angold, Byzantium, St. Martin’s Press
35. Michael Azerrad, Our Band Could Be Your Life, Little, Brown
36. Michael Schmidt, The Lives of the Poets, Vintage
37. Michael Temple, James S. Williams, Michael Witt, eds., Forever Godard, Black Dog
38. Natasha Synessios, Tarkovsky’s Mirror, I.B. Tauris*
39. Northrop Frye, Anatomy of Criticism, Princeton*
40. Peter Ackroyd, Albion: The Origins of the English Imagination, Doubleday
41. Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard, Metropolitan
42. Rob Bowman, Soulsville U.S.A.: The Story of Stax Records, Schirmer
43. Roger Penrose, Shadows of the Mind, Oxford University Press*
44. Roland Barthes, Empire of Signs, Translated by Richard Howard, Hill and Wang
45. Sayyid Qutb, In The Shade of the Qur’an, Vol. 30, Islamic Book Service
46. Simon Reynolds, Rip It Up And Start Again: Postpunk 1978-1994, Penguin*
47. Stevie Chick, Spray-Paint The Walls: The Story of Black Flag, Omnibus
48. T. Geoffrey W. Henslow, The Rose Encyclopedia, Arthur Pearson
49. W. G. Sebald, On The Natural History of Destruction, Random House*
50. William James, The Varieties of Religious Experience, Modern Library
I’ve seen a few people compile lists of books they’ve read so far in 2011, and the thought ocurred to me: I like lists!
But I don’t like lists that are too long, so I’m going to parcel these out in manageable portions. This first list confines itself to fiction written or translated into [...]

I’ve seen a few people compile lists of books they’ve read so far in 2011, and the thought ocurred to me: I like lists!
But I don’t like lists that are too long, so I’m going to parcel these out in manageable portions. This first list confines itself to fiction written or translated into English. Upoming lists will devote themselves to a) fiction written or translated into French and b) Non-fiction written or translated into English.
I might also do a separate list of movies I’ve watched (whether on DVD or at the theater) so far in 2011. That list is likely to be much longer. By my count the list of books I’ve read so far is somehwere around 150, but a lot of those books, for instance the ones that I will post under non-fiction, were for research, and not simply for pleasure. So it’s not all fun and games, even after someone loses an eye.
Works of fiction that I read specifically for film projects are noted with an asterisk. I’ve listed the books alphabetically by first name of the author because that was what Microsoft Word decided to do and I cannot argue with software.
I have only included books on this list that I can recommend, and I’ve left out a few that I re-read so often it wouldn’t be fair to count them (Pale Fire, Ulysses, The Third Policeman, etc). You’ll of course note that many of them were not published in 2011, or even 2010 in some cases, but this is what I read, so this is what you get. Links will take you to places where you can purchase these books online, but I urge you to seek them out at your local independent bookstore, if possible.
You’ll also note that I have declined to rate or review any of the books listed. I did this for two reasons. 1) I already have or am going to review many of the books on the list, either here or at the Los Angeles Review of Books, or 2) I don’t have anything interesting to say about some of the books, except: “I liked it. You should read it.”
That said, here goes something:
- Aaron Burch, How To Take Yourself Apart/How To Make Yourself Anew, Pank
- Alan Warner, The Worms Can Carry Me To Heaven, Jonathan Cape
- Alasdair Gray, 1982, Janine, Canongate Classics
- Alfred Döblin, Berlin Alexanderplatz, (Translated by Eugene Jolas), Continuum*
- Amelia Gray, Museum of the Weird, The University of Alabama Press
- Anna Winger, This Must Be The Place, Riverhead Books *
- Blake Butler, Ever, Calamari Press
- Blake Butler, There Is No Year, Harper Perennial
- Danilo Kis, garden, ashes, (Translated by William J. Hannaher), Dalkey Archive
- Darby Larson, The Iguana Complex, Nephew
- David Foster Wallace, The Pale King, Little, Brown
- Frank Hinton, I Don’t Respect Female Expression, Safety Third Enterprises
- Fyodor Dostoevsky, The Idiot, (Translated by Alan Myers), Oxford University Press*
- Gustave Flaubert, Madame Bovary, (Translated by Lydia Davis), Viking
- Hjalmar Soderberg, Doctor Glas, (Translated by Paul Britten Austin), Anchor
- Jennifer Egan, A Visit From The Goon Squad, Anchor Books
- Jesús Ángel Garcia, badbadbad, New Pulp Press
- Jim Ruland, Big Lonesome, Gorsky Press
- John Barth, The Sot-Weed Factor, Anchor*
- John Dos Passos, Manhattan Transfer, Mariner Books
- Justin Taylor, The Gospel of Anarchy, Harper Perennial
- Lee Rourke, The Canal, Melville House
- Lydia Davis, The Collected Stories of Lydia Davis, Picador
- Lydia Davis, The Cows, Sarabande Books
- Matthew Stokoe, Cows, Little House on the Bowery/Akashic Books
- Michael Kimball, Us, Tyrant Books
- Molly Gaudry, We Take Me Apart, Mud Luscious Press
- Nathan Larson, The Dewey Decimal System, Akashic Books
- Nina Revoyr, Wingshooters, Akashic Books
- Patrick deWitt, Ablutions, Houghton Mifflin Harcourt
- Patrick deWitt, The Sister Brothers, Ecco
- Roberto Bolaño, 2666, (Translated by Natasha Wimmer), Picador
- Roberto Bolaño, The Savage Detectives, (Translated by Natasha Wimmer), Picador
- Scott McClanahan, Stories V!, Holler Presents
- Tao Lin, Richard Yates, Melville House
- Thomas Bernhard, Prose, (Translated by Martin Chalmers), Seagull Books
- Tom McCarthy, C, Alfred A. Knopf
- Tom McCarthy, Remainder, Vintage
- Tom Williams, The Mimic’s Own Voice, Main Street Rag
- William Maxwell, So Long, See You Tomorrow, The Harvill Press
Under der linden
an der heide,
dâ unser zweier bette was,
dâ mugt ir vinden
schône beide
gebrochen bluomen unde gras.
vor dem walde in einem tal,
tandaradei,
schône sanc diu nategal.
Under the lime tree
on the open field,
where we two had our bed,
you still can see
lovely broken
flowers and grass.
On the edge of the woods in a vale,
tandaradei,
sweetly sang the nightingale.
Walther von der Vogelweide (c. 1170 – c. 1230)
I woke this haze-shrouded California day with an obsession: to escape. Not just my cramped and unclean two-room sublet, but the whole dust-bowled, brown-scarved city. I’ve lived in Los Angeles for almost three years, and during that time have never discovered the city limits. To be fair, the city may not have any limits. I’ve been told as much, but it’s unwise to believe everything you’re told, I’m told. As a matter of long habit, I rarely leave the house. I spend my days reading books, or watching movies. I consider myself a student type.
I had never before this day been afflicted by anything like an obsession. I’d always figured I simply didn’t have the requisite attention span. You—or maybe not you, but someone, I hope—know what it’s like: you set your mind on something, get maybe halfway through, and suddenly stop, because you can’t remember why. Your motivation evaporates, without apparent cause. Well, the answer’s clear, Alphonse-Hubert, you tell me (that’s my name, and yes, it’s my real name, and no… I forget what no. Call me Valence, or Val. Everyone else does—strange that I don’t know your name, though), obviously, you’ve remembered that there’s no point. In other words, there’s no point to anything, and still we do things, we keep doing things, despite the pointlessness. Not me, personally, I don’t do anything, or not many things, at any rate, but people in general: we do things.
Where’s the evidence that doing things has resulted in a benefit for humanity? A real, measurable, absolute benefit for every human being, I mean. Obviously you can do something nice for yourself, or your neighbor, or your grandmother, but all of these people: you, your neighbor, your grandmother, are going to die, and where does your good deed end up but the cemetery? Okay, say you are an inventor and you come up with something that undeniably progresses our common ability to travel from one place to another more quickly and comfortably, while at the same time preserving the earth’s natural resources and affordable to everyone, not just rich wastrels.
I’m not convinced. What’s so terrific about traveling more quickly or comfortably? Who’s to say we’re not better off with slow, cumbersome, filthy, disease-ridden, back-breaking, environment-blighting modes of transport? The earth does not belong to us, nor her natural resources. If we squander them, it’s the same as stealing from God, but if we save them, we’re saving them for God, and where’s the benefit to humanity in saving things for God, who—by the way—is supposed to be in charge of saving things for us, or at least saving us. Perhaps these are the same thing, perhaps not. I’m no theologian.
I don’t think the old days or ways were better than the new ones. I don’t think they were worse, necessarily. On the whole, life has always been life, and the core problems associated with life remain as unsolved and troublesome as ever. I’m not one of these crazy Luddites who want to take away every invention made after the year 700 or whatever. Not that I approve of many of these inventions, in fact just the opposite, I disapprove of everything the so-called Renaissance and its grubby cousin, the Industrial Revolution, has bequeathed us, with the possible exception of the television and the DVD player, because I watch a lot of movies but I don’t like to leave the house. I disapprove of modern conveniences and the general uptick in speed-of-life that has accompanied these conveniences, especially the vacuum cleaner, but I cannot condone anything that derives from religion. Religious people, by which I mean people bound by faith, which is of course the etymology of religion, are by definition insane, and will do insane things. Religious people in recent history have been known to fly airplanes (which I don’t like, either) into skyscrapers (also no good), killing thousands of people.
Where’s the benefit in that? Granted, thousands of people die every day, sometimes of what are called natural causes, sometimes through neglect, stupidity, greed, laziness, etc. More rarely, these people are killed by other people, either singly, in small groups, or in mass executions. The victims in such cases are inevitably described as “innocent.” Which is another thing I have trouble believing: that there are innocent people. Everyone goes on and on about innocent people, especially with regard to children, when you and I both know, as has been proven in such books as Lord Of The Flies, Madame Bovary, Mein Kampf, Green Eggs And Ham, The Holy Bible, Highlights Magazine, Wuthering Heights, and Civilization And Its Discontents, that no one is innocent. Everyone deserves to die, and everyone will die. It’s a question of when, that’s all. And of how much, not how little, harm you will do to others and yourself before you die.
William Tyndale
By writing the first translation into English of the Bible, from original Hebrew and Greek sources, William Tyndale essentially invented the English language in the period 1525-1530 or so. For his efforts, he was strangled and then burned at the stake by the Catholic Church as a heretic. The “authorized” King James Version, published in 1611, despite the work of 56 independent translators, relies heavily on Tyndale’s version. The King James Version New Testament is 83.7 percent Tyndale’s work, with the KJV Old Testament 75.7 percent Tyndale’s.
Phrases first appearing in Tyndale’s Bible:
* lead us not into temptation but deliver us from evil
* knock and it shall be opened undo you
* twinkling of an eye
* a moment in time
* fashion not yourselves to the world
* seek and you shall find
* ask and it shall be given you
* judge not that you not be judged
* the word of God which liveth and lasteth forever
* let there be light
* the powers that be
* my brother’s keeper
* the salt of the earth
* a law unto themselves
* filthy lucre
* it came to pass
* gave up the ghost
* the signs of the times
* the spirit is willing
* live and move and have our being
* fight the good fight
Here’s a very short sample of his original translation: a fragment of The Story of the Prophet Jonas.
But the lord prepared a great fish, to swallow up Jonas. And so was Jonas in the bowels of the fish three days and three nights. And Jonas prayed unto the lord his god out of the bowels of the fish.
And he said: in my tribulation I called unto the lord, and he answered me: out of the belly of hell I cried, and thou heardest my voice. For thou hadst cast me down deep in the midst of the sea: and the flood compassed me about: and all thy waves and rolls of water went over me: and I thought that I had been cast away out of thy sight. But I will yet again look toward thy holy temple. The water compassed me even unto the very soul of me: the deep lay about me: and the weeds were wrapped about mine head. And I went down unto the bottom of the hills, and was barred in with earth on every side for ever. And yet thou lord my God broughtest up my life again out of corruption. When my soul fainted in me, I thought on the lord: and my prayer came in unto thee, even into thy holy temple. They that observe vain vanities, have forsaken him that was merciful unto them. But I will sacrifice unto thee with the voice of thanksgiving, and will pay that that I have vowed, that saving cometh of the lord.
It’s not uncommon for admirers of certain dead authors, poets, musicians, actors, and Jim Morrison to leave posthumous epistles on or near their graves. The grave of Charles Baudelaire in the Cimitière Montparnasse is no different. What I found both touching and slightly pathetic about the letters fixed in place by small stones atop [...]

It’s not uncommon for admirers of certain dead authors, poets, musicians, actors, and Jim Morrison to leave posthumous epistles on or near their graves. The grave of Charles Baudelaire in the Cimitière Montparnasse is no different. What I found both touching and slightly pathetic about the letters fixed in place by small stones atop the grave of the author of Les fleurs du mal was the adolescent fixation with 1) death b) bad poetry and 3) even worse spelling. Sweet, in its own way, but not, I think, the tribute Baudelaire himself would have wished.
Alors: A concrete example of the deconstructionist view that the author is dead, with the corollary notion, invented by me just this minute, that the reader is dead. If the book is dead, too, as some would have you believe, the market in ghosts would seem ripe for the taking. I’m not sure how to take advantage of this, exactly, but no doubt some wily investment banker’s already on the case. His name is Wilde.

“Beaudelaire”?

The fly seems almost too appropriate.

Wouldn’t hold my breath waiting for that phone call, dude.
Wherein I try to use science, or at least scientists, to determine the existence or non-existence of the human soul. Originally published in Discover magazine but I can’t seem to find a working link online. It’s kind of a long read, so I’m posting it on a Friday to give you time to read [...]
Wherein I try to use science, or at least scientists, to determine the existence or non-existence of the human soul. Originally published in Discover magazine but I can’t seem to find a working link online. It’s kind of a long read, so I’m posting it on a Friday to give you time to read it over the weekend, because there will be a quiz on Monday. Fair warning. I should note that I used tiny bits and bobs of the theories and personalities contained herein when constructing the character of Marcus Forget in my second novel The Failure.
“I heard people talk about immortality, but I ain’t seen it.”
— Private Witt, from Terrence Malick’s The Thin Red Line
The problem with proving the existence of life after death, and hence of the soul, in whatever form and however defined, is that most of us have been conditioned —sensibly so — to accept only the evidence of our senses. By that standard, there really is no way to verify the afterlife, or an afterlife. By the evidence of the senses, when brain activity stops, you stop. The rest is faith, or belief, or fantasy, depending on your point of view.
In recent years, however, science has asked us to trust the evidence of things unseeable even with the most powerful microscopes, things that can’t be measured with our most sensitive devices, things that exist only in theory, or because theory requires their existence, and so they must exist. In quantum mechanics, science supposes that tiny forms of matter or energy, qbits (quantum bits), can exist at the same time in two different places in once (called “superposition”), or at different times in the same place. String theorists, looking for a way to explain the physical universe, have hypothesized a number of dimensions outside the three (or four, if you include time) available to our perception. The number ranges from five to eleven, depending who’s counting. Black holes in space are identified by the absence of the visible.
We’re asked to believe in these unseeable things rather than the unseeable things of the mind or soul or spirit because, whether these things finally prove true or untrue, there’s sound scientific reasoning behind quantum mechanics and string theory and black holes, whereas belief in life after death requires a leap of faith that extends — most people think — beyond the reach of science.
Which hasn’t prevented science, or at least some scientists, from trying. The mystery of consciousness — as outlined in Western thought by Cartesian dualism, the mind/body split defined by René Descartes, which seated consciousness firmly in the brain, where it has remained comfortably for a few centuries since — has become a hot topic as advances in the fields of neuroscience and quantum mechanics have enabled new theories of the origins and nature of the mind that go well beyond what Descartes dreamt of in his philosophy.
Even areas which have in the past been overlooked by conventional science — reincarnation, out-of-body or near-death experiences (OBEs and NDEs, respectively) — have benefited from serious, systematic scientific investigation. While there may as yet be no concrete way to “prove” that past lives carry over into present lives, or that the soul or consciousness in some form exists separately from the physical functions of the body, piles of data and a tangle of newly-developing theories suggest that the idea of an afterlife, in some form, however nebulous (or not) certainly bears further scrutiny.
Earlier, funnier attempts to prove the existence of the soul included the 21 Grams experiment. You may have seen the movie 21 Grams, whose title stood for the amount of weight the human body supposedly loses at the exact time of its death. The theory being, of course, that the soul weighs exactly 21 grams, and the weight loss is attributable to the soul leaving the body. This figure was arrived at by Duncan McDougall in 1901, who, according to Mary Roach in her thorough and highly entertaining book Spook: Science Tackles The Afterlife, describes how McDougall contrived to lever a dying patient at the Consumptives Home in Dorchester, Massachusetts onto an extraordinarily sensitive commercial scale used for weighing silk. McDougall registered a weight loss of 21 grams at the time of the unnamed patient’s expiration.
Problem: there’s many reasons why the patient may have suddenly lost weight at time of death, the most persuasive of which Roach calls “insensible loss” — body weight that’s constantly being lost through evaporating perspiration and water vapor. MacDougall and his successors never managed to replicate exactly the results of their initial experiment — some patients even gained weight at the time of death — and the current scientific consensus is that no consistent results have been or are likely to be derived from loss of body mass at the moment of death.
The spiritualist vogue in the late nineteenth and early twentieth century did little to advance the serious case for the soul’s existence, with so-called mediums and their table rapping and yards of “ectoplasm” (usually some kind of lace pulled, as Roach reports, surreptitiously from their vaginal cavities).
But there’s always been a parallel strain of more persuasive evidence — evidence for measurable extra-sensory perception, anecdotal reports of similar near-death experiences (NDEs) and out of body excursions (OBEs). It’s this more persuasive strain that has received the benefit of at least some serious scientific inquiry. Dr. Charles Tart, a professor of psychology at the University Of California at Davis, has done a great deal of empirical work in the area of parapsychology, encompassing not just OBEs and NDEs but elements of what Tart calls “indirect evidence that mind is something more than the body.” He breaks this indirect evidence down into five categories: “the big five, as I like to call it: telepathy, clairvoyance, precognition, psychokinesis, and psychic healing. These are your basic forms of extra-sensory perception, which each have hundreds if not thousands of experiments showing that you get effects that way.”
Direct evidence, in Tart’s view, is “stuff that tries to get more directly at the question of whether we might survive death.” Into this category fall NDEs and OBEs. For these there is “nowhere near as much experimentation, and a more difficult methodology. The data at this point produces a ‘maybe’ answer. Strong enough that you really should look at it, but I wouldn’t want to say ‘prove it,’ by any means.”
Tart defines an OBE as an event where “you experience yourself as being located somewhere else than where your physical body is, and – the and part is particularly important – you have a relatively clear state of consciousness. So you can reason about how this experience is impossible, for instance. You couldn’t possibly be wide awake like this and somewhere else, but, dammit, there you are. The typical reaction of someone who’s had an OBE is ‘I no longer believe that my soul is going to survive death. I know it. I’ve had direct experience of my mind outside of my body.’
“Now we as outsiders can quarrel with them. We weren’t there, we didn’t have the experience. But to people who’ve had the experience, they feel that they know. Same sort of thing with people who’ve had NDEs. Typical reaction is ‘I no longer believe in survival, I know it’s true.’ OBEs and NDEs can overlap, but the distinction is usually this: I’ve defined an OBE as where your consciousness feels pretty much normal. An NDE might start with an OBE, but it almost always goes into an altered state of consciousness. That’s when people talk about it being so difficult to describe in ordinary language, new types of knowing, things like that. It’s the altered state aspect that distinguishes the two.”
Tart’s own experiments with regard to OBEs and NDEs is long-standing, and at least within the small field of parapsychology, well-known. He conducted a famous experiment in the 1960s where a subject was able to read back correctly to Dr. Tart a five digit number he had placed out of sight of her body in a sleep laboratory.
“The funny thing is,” says Tart, “when I talk about that, and say that she correctly gave me the five-digit number, somebody will inevitably ask ‘Did you know the number?’ And when I admit that I did, they’ll say ‘Oh, it was just telepathy.’ I’m sorry, the first experiment like that in the world, and I didn’t think to control for mere telepathy. Silly me!”
Although Tart was the first, he’s not the only person to attempt a scientific exploration into OBEs. Bruce Greyson at the University of Virginia, is currently working with defibrillator insertion patients just after they come out of anesthesia. According to Mary Roach, who describes the experiment in Spook, Greyson has positioned a laptop with a randomly assigned, constantly-changing screen-saver, high up in the room, where the patient — whose heart will technically stop for up to four minutes as part of an operation designed to correct his arrhythmia — will not possibly under ordinary circumstances be able to see the image on the laptop. If, post-op, anyone does, it would be pretty persuasive evidence that OBEs do happen. To date, by all reports, no such luck.
“A constantly changing target on a laptop is a more sophisticated approach,” comments Tart. “Trouble is, though, you tend to find that’s not where people have their NDEs and OBEs. They have them in a different room. Additionally, in surgery nowadays they give you a drug [Versed, a mild tranquilizer] that screws up your memory. It’s amazing that any get reported at all with that drug in them. Having said that, I suspect he’ll get one sooner or later. It’s actually been tried very few times so far.”
Why not? “There’s something you have to understand here,” Tart explains. “Because this is such an interesting topic, people assume there’s a big establishment working on all aspects of parapsychology and NDEs and so on. There’s hardly anybody working on it. I may talk about hundreds of experiments for some of the more established phenomena, but that’s been accumulated for over half a century.
“Reverting to my role as a psychologist — you’d think whether we have some aspect that survives death would be a pretty burning question for most people, and we ought to research it. Yet it’s almost impossible to get research money for this sort of work. It’s crazy.”
Clearly there’s a strong sense among many “conventional” scientists that, while the study of parapsychology may not be crazy, exactly, most or all paranormal mind-events can be explained in neurological (i.e., brain-and-body rooted) terms. Harvard professor of psychology Steven Pinker has noted a recent Swiss study whereby NDEs could be artificially induced, even turned on and off, “by stimulating the part of the brain in which vision and bodily sensations converge.”
Tart responds, “The article Pinker’s referring to is almost certainly Stimulating illusory own-body perceptions: The part of the brain that can induce out-of-body experiences has been located. Nature, 2002, volume 419, pp. 269-270 by Olaf Blanke and colleagues. I’ve known about that one for years, and it’s another example of rather grandiose claims (the subtitle, particularly) based on almost total ignorance of what OBEs are actually like. One patient had really distorted perceptions of her own body with brain stimulation and vaguely reported feelings of ‘lightness’ and ‘floating.’ The Blanke report may have some relevance to some aspect of OBEs, but hardly explains them.’
“There’s a similar attempt to ‘explain’ NDEs on the basis that test pilots in high-speed centrifuges experience a closing in of vision, sort of like a tunnel, just before the G forces cause them to black out, but the overall experience of the pilots has very little in common with NDEs. My experience, unfortunately, is that theories which ‘explain away’ things like OBEs and NDEs are welcomed in mainstream journals even when they are of low quality, as that’s what the establishment wants to hear, while articles of much higher methodological quality that show the existence of things we don’t understand get rejected out of prejudice.”
One way to explain the phenomenon of NDEs and OBEs — one of the more interesting, scientifically — is through quantum mechanics. Stuart Hameroff, an anesthesiologist who’s spent many years studying brain functions, and who in collaboration with the Oxford mathematician and physicist Roger Penrose has developed a model for consciousness that relies on quantum processes at the very smallest scale of the brain’s functions, explains that “the BBC did a show four or five years ago called The Day I Died. There were two big NDE studies in Europe, and they asked the scientists involved how they could explain NDEs and OBEs, and they said, ‘We don’t know, ask Penrose and Hameroff.’ I said that I think consciousness under normal circumstances occurs at the level of space/time geometry in the brain. In the microtubules in the dendritic webs in the brain. Between the ears. But the fluctuations extend down to the Planck scale. That’s because the microtubules are driven bioenergetically to be in this coherent state. When the blood supply, and the oxygen stops, things kind of go bad, and the coherence stops, but the quantum information at the Planck scale isn’t lost. It may just dissipate into the universe at large, but remain somehow entangled in some kind of functional unit, kind of like a hologram maybe. It’s possible that could exist for a brief period of time or maybe indefinitely. If the patient is revived, the quantum information gets picked back up again.”
The Planck scale Hameroff references is, in essence, the unimaginably small energy scale where the effects of quantum gravity (about which there exists much debate and many competing theories) become strong. The nature of reality at the Planck scale, according to some physicists, may be the fundamental stuff of the universe. Which happens to be exactly what Hameroff and Penrose believe — but for them it goes further, into the mystery of consciousness itself.
“Penrose came up with a specific threshold that is conscious,” Hameroff explains, “through [Kurt] Gödel’s [incompleteness] theorems [in summary: any given theory or system of ideas will contain true but unprovable statements] and so forth, that made the connection between the quantum possibilities in the universe itself and the quantum processes in the brain. He suggested quantum superpositions in the brain that would reach this threshold and have conscious moments, but he didn’t know what the structures were. I had been working in an area one step down from where Penrose was looking, in the neurons. I was working on microtubules inside the neurons, which are constructed as beautiful molecular biological computers, processing information within cells — kind of the onboard computer or CPU for living cells. I needed a mechanism and he needed a structure, so we teamed up.”
The Hameroff-Penrose model for consciousness is called ORCH OR, which stands for “orchestrated objective reduction of quantum coherence in brain microtubules,” which in essence means that Penrose and Hameroff believe that “consciousness is a process on the edge between the quantum and classical worlds. Biology is leveraged precisely so that quantum level effects can be amplified to, say, move an arm or say a word. Because of the scale and sensitivity of biology,” Hameroff explains, “it can interface with quantum processes.”
But it doesn’t stop there. Penrose has theorized that there exists at the Planck scale a realm (“Don’t call it a dimension,” Hameroff jokes) of Platonic ideals that influence, however subtly, the workings of our mind.
“It’s the tiniest scale imaginable,” says Hameroff. “The universe is after all mostly empty space. If you go down in scale, twenty-five orders of magnitude below the size of an atom, on the way down it would appear smooth and featureless. Then you begin to see structure or coarseness or irregularity, which is the Planck scale, the basement level of the universe. String theory tries to describe this but string theory still requires a background space/time. The point is that there’s some kind of structure and volume pixels, if you will, at Planck volumes, that are the stuff of the universe. What they’re made of, you can’t even say. You get these patterns at the Planck scale that are constantly evolving and changing. We know that it’s arranged non-locally, so patterns repeat over spatial domains, if you will. This is where Penrose says the non-computable [Platonic] influences are embedded as non-local patterns. So even though they’re very, very tiny, they repeat everywhere. So wherever you go, there they are.”
Which suggests the obvious question: where did these non-computable Platonic influences come from? “I asked Roger the same thing,” he replies, “and he said, ‘The Big Bang, where else?’”
In other words, consciousness — all consciousness, of which you and I partake and yet which somehow permeates every aspect of the universe — was created in the same moment as the universe itself was created. In fact this is exactly what Italian mathematical physicist Paola Zizzi has termed “The Big Wow,” shorthand for her description of the connection between “the very early quantum computing universe and our mind.”
So Cartesian dualism, the mind/body split, has a correlate in the quantum/classical split? “I think that’s true,” says Hameroff. “I think consciousness is actually the transition from the unconscious quantum, choosing classical states.”
ORCH OR remains highly speculative, like many theories, and held in low regard by cognitive scientists like the afore-mentioned Steven Pinker, who, writing in Time Magazine on The Mystery Of Consciousness, represents the view of much conventional science when dismissing Penrose’s quantum approach by saying “to my ear, this amounts to the feeling that quantum mechanics sure is weird, and consciousness sure is weird, so maybe quantum mechanics can explain consciousness.” Pinker prefers to locate consciousness, however derived, exclusively in the physical activity of the brain. Meaning that when the brain dies, consciousness dies. That is to say, you die.
“As far as I know,” elaborates Pinker by email, “the quantum/microtubule theory hasn’t given rise to models that accomplish any task that is part of intelligence. It can’t be a coincidence that a big part of intelligence correlates perfectly with consciousness — that when I search for my keys, or add up a column of numbers, or decide whether my socks match, the states I feel myself going through correspond to some of the high-level states of an algorithm for accomplishing those feats. Any theory that tries to account for consciousness but says nothing about intelligence is incomplete, and until the quantum-microtubule theory can show how the brain solves problems (even simple ones) I doubt that theoretical neuroscientists will adopt it.”
“I completely agree that microtubules must be capable of computation, information processing, or intelligence, as Pinker says, to play a role in consciousness,” responds Hameroff. “In the late 1980s I collaborated with Steen Rasmussen at Los Alamos National Labs on cellular automata models in microtubules (microtubule cytoskeletal automata). We did computer simulations and showed that the particular geometry of microtubules is extremely good for self organizing computation. In a more recent study [Steen Rasmussen, Hasnain Karampurwala, Rajesh Vaidyanath, Klaus Jensen, Stuart Hameroff. Computational connectionism within neurons: A model of cytoskeletal automata subserving neural networks Physica D 42:428-449 (1990)] we simulated two microtubules connected in parallel by linking proteins (known to occur) forming an information processing network. We ran a standard learning task using an error correcting parameter called the Hamming distance and showed that two microtubules linked together randomly could learn to recognize patterns. It appears we have done what Pinker requested 17 years ago.”
For his part, Hameroff’s colleague Roger Penrose notes in his book Shadows Of The Mind: A Search for the Missing Science of Consciousness that “human physicists are, as yet, largely ignorant of [the quantum approach to consciousness] is, of course, no argument against Nature having made use of it in biology. She took advantages of the principles of Newtonian dynamics long before Newton.”
On a more general level, Tart comments, “In terms of the ordinary person, whether or not we have a soul — what kind of scientific basis do we have to assume that mind must be something more than just the body? I can boil that argument down very easily: if you assume that mind is nothing but electro-chemical processes within the brain, body, and nervous system, then you can with great confidence say what that can and cannot do. For instance, we can say that, yeah, there’s a little electro-magnetic radiation from my brain. But it is so weak that it falls below the noise level. I couldn’t possibly affect you by you picking up radiation from my brain with me sitting here in Berkely, California. Yet if you do experiments where you set it up so given our current materialistic view of physics nothing could possibly happen, and something does happen, you have concrete evidence that mind can do something that brain and body can’t. You have to look at other possibilities for mind.”
One such possibility, long accepted in some Eastern cultures but much less so in Western culture, is reincarnation. After all, as Hameroff notes about the disembodied quantum information released when a patient’s brain activity stops, “if the patient isn’t revived, it enters the universe at large, and maybe it gets picked back up again by someone someday, who knows?” The idea of reincarnation has received seriously systematic attention from a unit of the University Of Virginia’s Division Of Perceptual studies, funded initially by a grant from Chester Carlson, the inventor of xerography (i.e. Xerox). The research was begun by Dr. Ian Stevenson as far back as 1961, and has carried on after both Stevenson’s and Carlson’s death.
Jim B. Tucker, M.D., author of Life Before Life: A Scientific Investigation of Children’s Memories of Previous Lives, has helped carry on Stevenson’s work at UVA, which primarily consists of constructing a searchable database of recorded cases of what Tucker prefers to call “carryover” rather than reincarnation, both to sidestep the cultural baggage of the term and because, frankly, his study is concerned with identifying the phenomenon and not speculating as to its underlying cause.
“It’s been a project that’s been years in the making,” explains Tucker. “With each case, we’ve got interview notes, a registration form, and other information, all of which is put on a coding form that has two hundred variables — pretty much everything you can think of, from the occupation of the parents, a lot of the characteristics of the child, and so on. Unfortunately, due to that coding process, it’s very labor intensive. We’ve got 2500 cases registered in our files, and so far we’ve got 1400 of them coded into the computer database.”
The results are occasionally startling — particularly so in cases where birthmarks on a child who recalls memories from a specific past life match wounds received by the person whose life experience has purportedly “carried over” into the child’s memory.
“Those cases are out there. Ian Stevenson published this huge work documenting 225 of them. Obviously with birthmarks, if you get a little blemish, you don’t make much of it. But some of these are pretty dramatic.”
The birthmarks are difficult to dismiss, because they don’t rely on the vagaries of interviewing a child, whose capacity for fantasy or imagination may sometimes dilute the verifiability of his or her memory. But even given that, Tucker notes “We know so little about what might cause these things that to attribute them to reincarnation would be purely speculative.”
At some point, though, the mass of scientific evidence pointing to the existence of something apart from a purely physical origin/function/demise of consciousness becomes persuasive, at least to the open-minded. The question remains, and will remain for many years to come, most likely: persuasive of what, exactly? The existence of the soul? The afterlife?
It’s entirely possible that sometime in the future science will advance to such a degree that we are able to say, definitively, that life after death exists, or doesn’t exist. We may be able to measure the dimensions of Heaven and Hell, and open a channel directly to God, who may or may not turn out to be a small koala bear-like mammal living in a distant star system. For now, a substantial number of people still believe in leprechauns. The nature of the soul, the existence of God, of an after-life: these questions have obsessed us since the dawn of human consciousness, and will likely continue until its sun has set. Faith remains aloof from science, though some would argue that faith in science is a substitute for religion and thus the replacement of one false idol with another. Belief and doubt are hard-wired into our system. The more we learn, it would seem, the less we know.
Except, perhaps, when we sleep:
“I think dreams are quantum information, basically,” says Hameroff. “And in fact the logic of dreams matches quantum logic.”
Sweet dreams.
The extraordinarily talented and discerning Andrew Leland let me write a short post, at the site he curates for the Oakland Museum of California, about pretty much the one thing I like about living in Los Angeles. Which is jacarandas. You can read it here. Thanks again to Andrew.

The extraordinarily talented and discerning Andrew Leland let me write a short post, at the site he curates for the Oakland Museum of California, about pretty much the one thing I like about living in Los Angeles. Which is jacarandas. You can read it here. Thanks again to Andrew.
“I become self-conscious about having a funny accent. Unlike Conrad or Nabokov, I didn’t have circumstances which would have coerced me out of my native tongue altogether. But the time may come when my German resources begin to shrink. It is a sore point, because you do have advantages if you have access [...]
These are the Sebald books I currently own.
“I become self-conscious about having a funny accent. Unlike Conrad or Nabokov, I didn’t have circumstances which would have coerced me out of my native tongue altogether. But the time may come when my German resources begin to shrink. It is a sore point, because you do have advantages if you have access to more than one language. You also have problems, because on bad days you don’t trust yourself, either in your first or your second language, and so you feel like a complete halfwit.”
W.G. Sebald in The Guardian, on why he continued writing in German despite having achieved fluency in English many years before. Less than 3 months later he died, at age 57.
This extraordinary item appeared in the New Yorker last week (at least it appeared online last week; I no longer subscribe to the print weekly and also I killed the book industry, just for fun). I only discovered it this morning because I do have other things to do, you know. Get off [...]

This extraordinary item appeared in the New Yorker last week (at least it appeared online last week; I no longer subscribe to the print weekly and also I killed the book industry, just for fun). I only discovered it this morning because I do have other things to do, you know. Get off my iCloud, okay?
Richard Brody, the movies editor for that magazine’s “Goings On About Town” and a Godard scholar who’s written a very fine book called Everything is Cinema: The Working Life of Jean-Luc Godard compiled for the NYer a brief log of his experiences tracking down and watching Godard movies over the course of three decades, in the dark pre-Criterion days when you actually had to search out rare showings of his movies, and if you missed one you were just out of luck, buster. (In fact, some of the mid-70s movies he talks about are still unavailable on DVD and rarely shown.)
It’s a useful reminder, to me at least, that not everything that happened in the last decade or so has been a harbinger of impending doom leading us blindly down the primrose path towards our destruction. Or something like that. If you feel yourself in need of a brief refresher on the recent history of film, you should read Mr. Brody’s story.
[Editor's Note: Due to time constraints (see what I did there?) I'm re-posting another something from the cobwebbed archives. A couple of years ago, I wrote this article for a general science magazine called Discover, where it eventually appeared, in severely truncated form, but with the benefit of charts and graphs to which I [...]
[Editor's Note: Due to time constraints (see what I did there?) I'm re-posting another something from the cobwebbed archives. A couple of years ago, I wrote this article for a general science magazine called Discover, where it eventually appeared, in severely truncated form, but with the benefit of charts and graphs to which I do not have access. It’s a fairly long piece, but not half as long as it should be.]
Marking Time
In a film editing bay or a music recording studio, just like in a Las Vegas casino, there is no natural evidence of the passage of time. You work in the dark. There are no windows, because windows are not soundproof. Nevertheless: despite the absence of natural time, man-made or artificial time rules everything that happens in that room. In music and film, time inhabits and controls the machines that enable recording and editing, to such an extent that given the advances in broadband speed and he precision of these machines’ internal clocks, recording sessions can now take place continents away, simultaneously. The ghost in the machine makes a ticking sound, if it speaks at all, and seeks only to regulate the natural world’s inclination towards relativity.
In other words, say a really awful band has recorded a drum part in Los Angeles, but their lead guitarist is in London pretending to go out with a supermodel to establish tabloid cred. He can go into a London studio, connect via broadband using Pro Tools, which is probably the most common recording software in use today, and lay down a suitably mediocre guitar solo that will sync perfectly with the mediocre drum part. Similarly, with regard to movies, a scene shot in a crumbling French chateau, even if originally shot on film, will be almost immediately transferred to a digital format (called the “digital intermediate,” and imprinted with timecode so that a NLE, (or non-linear editing program), such as Final Cut Pro or Avid, can be used to link previously shot footage to the more recent work. The creative possibilities presented by the ease of use and extreme portability of NLEs has led directly to experiments in time dislocation of the sort that used to be considered radical, when they involved time-consuming cut-and-paste of actual film stock, but are now as commonplace as the rearrangement of entire paragraphs on a word processor. A few keystrokes on the computer, and one scene in a film swaps places with another, entirely changing the tone, rhythm, and sometimes meaning. A film like Christopher Nolan’s Memento, which unspools back-to-front like a videotape slowly rewinding in a mirror, might have been possible before the advent of the NLE, but would certainly have been more difficult to assemble, and perhaps, as a result too expensive to consider.
The construction process, whether in music or in film, has traditionally been one of choice: its most important function has been to choose the best performance, however defined, of a song or a scene, whether as a whole or in specific parts, and to assemble these parts, or parts of parts, into a whole, in accord with a pre-determined schematic, whether that be a song structure or a screenplay. Remove the necessity to make a choice, however, which is a byproduct of removing the laborious reconstruction of a song or a film by splicing actual physical things, and you have instead limitless possibility. An easy illustration of this is the now-passé vogue for the mash-up, where the backing track of one song is married to the vocal track of another, producing a third, sometimes entirely different song. This was generally accomplished by a new technology that allowed the user to change the tempo of the song without altering its pitch, or vice versa. This technology did not exist ten years ago, and is a direct result of the move from analogue to digital recording methods, which in itself is a direct result of the apparently inescapable urge of humanity (or at least engineers) to conquer the ironic inflexibility of man-made or artificial time. Which is why you can now hear Madonna’s “Ray Of Light” set to the Echo And The Bunnymen’s “Killing Moon.” Progress!
Certainly, in the right hands and minds, these new tools offer possibilities that can advance both the movie-making and musical arts, if only by reducing the costs involved in mounting complicated productions, and increasing their feasibility. In other words, these days, if you have a good idea, and a lot less money than you used to need, chances are you can find a way to make it work. Part of the reason is that same SMPTE time code (SMPTE stands for Society Of Motion Picture and Television Engineers, and SMPTE timecode simply refers to the standards adopted by that group to label individual frames of video or film or audio material) imprinted on every digital frame or musical byte recorded by computers. These time codes, some of which are based on what’s called “wall clock” or natural time (whatever that is), others on “notional time,” which bears no relation to natural time and is for purposes of synchronization only, are generated by machines and embedded into the metadata of the audio/visual information itself. The kind of time code that you can see in the movie Time Code, for instance, is called BITC, which stands for Burned-In Time Code. And when you see outtakes on DVD from excellent movies like Talladega Nights: The Story Of Ricky Bobby, you can often see these bits of discontinuous timecode in the picture frame, which, if you’re interested, provides some insight into how a film is constructed.
What might be called the domestication of time is nothing new, but the pace at which it has developed, like the pace at which most things have developed, seems to have recently accelerated. For centuries, because the human race was a predominantly agrarian society, ruled by the ‘sun-up, sun-down’ method of time-keeping, relying on circadian rhythms to regulate our activities, the sundial provided a sufficient answer to the eternal human question answer ‘Why can’t anyone ever be on time for anything?’ During the middle ages, monks needed a more reliable system for keeping track of the time during the hours of the day when the sun was not available for consultation, or the moon or the stars for that matter, because the monks, even while indoors, even at night, were required by monk law to keep strict track of the passing of time for the purpose of knowing at what hour a particular prayer was to be performed. They therefore developed (or stole the idea from the Greeks, whatever) a water clock, which worked by allowing water to drip at a nearly constant rate from a small hole near the bottom. This was apparently not good enough: between 1280 and 1320 AD, reference to mechanical clocks can be found in church records, indicating that the water-clock had been developed to the point where its power was controlled by some sort of oscillating mechanism. The controlled release of power by means of a spring —technical term: the escapement — marks the beginning of the true mechanical clock. From there it wasn’t a huge technological step to the purely mechanical clock — prodded in large part because of the twin developments of the industrial Revolution (factory workers needed to show up on time) and the railroad (it would be nice if ten o’clock in London meant the same thing everywhere in England) — and to the uncanny pendulum, which is more or less how your grandfather’s grandfather clock still operates, thanks to the rotation of the earth (you can see Foucault’s Pendulum, probably the most famous version, in the Musée des arts et métiers in Paris), and then, much later, to the development of wristwatches, digital clocks (producing an entire generation of children who cannot tell time from a standard clock-face), and ultimately to those cheap Casio digital wristwatches that people bought for like twenty-five cents in the 70s and threw away when they broke, only to discover thirty years on that they would become ironically fashionable again and therefore ridiculously expensive on eBay. We have arrived today at the atomic clock, the most accurate thus devised, and the one to which many if not most “official” clocks are linked, which measures time using the very precise rate of decay of the element cesium. It is hidden away, like many mysterious things, in Boulder, Colorado. As quantum physics develops, we may yet see more accurate clocks, which will be useful to astrophysicists everywhere trying to fix the coordinates and movement of distant celestial objects.
And that’s great for them. But for us, for ordinary people, the clock is a tyrant. The tyranny of the clock has all-but-unnoticed burrowed its way into the fabric of our daily lives — flashing on our iPhones, embedded into every email we send, printed on every ATM withdrawal slip, if we had any money in our checking account. We never do not know what time it is anymore, and this, I think, is either an extension or a byproduct of our growing appetite for speed. Many readers will be old enough to remember the first computer modems, which connected us to the internet at the then lightning-quick rate of 14.4 kb/second, a speed so slow as to now appear positively Neolithic. We may as well have carved our messages into stone and flung them into the sea, compared to the 10+ megabit rates now achievable by broadband technology. By all accounts, sometime after the Large Hadron Collider fires up in Geneva, we can look forward to something called The Grid, which will make the internet seem like a very old man walking his broken bike on the emergency lane alongside a highway. And we’ll be on that highway, driving over the speed limit, except there won’t be a speed limit.
We are moving from a society desirous of instant gratification to a society of instant anticipation. We no longer want things that can be delivered immediately, we want to move the future forward, towards us, so that the future is no longer the future but a kind of extended present. “Now” is no longer a way to measure time but an adjective, a quality that can be possessed or divested. This is not a phenomenon confined, as one might think, to great urban centers where technology is worshiped in giant glowing Apple Stores. There is no longer any pastoral idyll untouched by the speed of things. We have television commercials that prove this: ads for giant telecoms that show people on top of what looks like Mount Everest teleconferencing with their kids back home in what may well be Iowa. Which seems like a long way to go to make a phone call, but that doesn’t seem to be the point of the ad. The point is: there is no where you can go that’s far enough. You can always be found, should you choose, and how giant a step is it, Neil Armstrong, from ‘when you choose’ to ‘when we choose?’ It’s a little disorienting, and for precisely this reason: artificial codes have erased natural time. The speed of sound is irrelevant: time zones are irrelevant: we can implant SMPTE on anything, transmit it over a fiber optic cable or via satellite, and machines on any side of the globe will be in sync.
The very notion of “on time” has been replaced by the notion of “in sync.” The world as we now know it is ahead of its time, where everyone, everywhere, always, seems to be ceaselessly scanning RSS feeds or Tivoing their favorite programs so as not to miss out on the general conversation, or iSyncing their iCalendar with everyone in their iCompany so that everyone always knows where iYou are, sometimes before you do. In other words, the same innovative drive that has produced new ways of creating, constructing, and rearranging movies and music, to say nothing of writing — the personal computer, in a sense, was the first NLE, and if it weren’t for the digital clock at the top of my computer screen that keeps track of time in four different parts of the world, I would not know what to do, or when, or why, though I suspect I don’t want to know the answer to the last question) — drives us to connect everything to everything else, and this restless connecting of dots, or rather pixels, may yet solve every human problem, or (much more likely) create a whole new set that someone else will have to solve. I only hope whoever’s responsible for that has enough time.
I just got an IM alert that I can watch a YouTube video of Scarlett Johannssen singing a cover of a Tom Waits song. Five years ago, or less, that sentence would not have made any sense outside (or maybe even inside) of a William Gibson novel. Five years from now, children will laugh at its hokey out-of-date techno-cultural references. Until that time, I expect — like most of us — to be running late.
1. People who can write with music playing, whether loud or soft or near or far, in whatever style or form.
When I listen to music, I do so with every part of my brain, involuntarily. Whatever kind of music is playing, I find myself listening to the production, the playing, the [...]

Abbaye de Royaumont, Asnières-sur-Oise. Formerly a 13th century monastery. I stayed here once for six weeks. It was almost perfectly quiet in my little room. Almost.
1. People who can write with music playing, whether loud or soft or near or far, in whatever style or form.
When I listen to music, I do so with every part of my brain, involuntarily. Whatever kind of music is playing, I find myself listening to the production, the playing, the structure, the meaning (both intended and interpreted) the melody, the context, the emotional force or lack thereof, the physicality of lack thereof, the complexity or lack thereof, etc. If it’s some form of rock, and if the production is not too artifice-laden, I’ll try to figure out: what kind of guitar/amp the guitarist is using; whether the bass player has opted for round-wound or flat-wound strings; what vintage synth or modern copy of a vintage synth is being used; what effects pedals or outboard gear the band has managed to borrow or steal; whether the saxophone is really a saxophone or, as is the case on Bowie’s “Suffragette City,” for instance, an ARP synthesizer mimicking a sax; whether the strings are really strings, and if so have they been multi-tracked or instead arranged for a certain number of players, and if so how many and what kind; whether the music adheres to or deviates from Western norms w/r/t tonality and harmony, and so on.
If it’s jazz or hip-hop or reggae or folk or soul or classical or any of the many forms of what once was called “world music,” or musique concrète, or Japanese post-rock noise, or Martin Denny exotica, or so on and on and on, different sets of criteria need to be parsed.
In a restaurant or other public space, where music is piped over the tannoy but at a low level, because I’ve lost a certain amount of high-end in my hearing over the years, except at the very highest end of the audible range, where my hearing is weirdly sensitive (I’m told this is common with musicians who played too loud over a long time), I’m if anything even more attuned to the snatches of organized sound that drift in and out of the normal chatter and clatter of dining. This sensitivity makes more difficult going to restaurants, bars, into buildings with elevators, getting in taxis, or riding in cars with people who listen to the radio while driving. Really just leaving the house presents a range of problems in this single respect, leaving aside the host of other issues, ranging from mild annoyances (driving) to panic inducing terrors (grocery shopping).
Therefore when it comes to writing, music is obviously a no-go. But not just music. My allergy to distraction also applies to television (whether bellowing or mutely flickering), radio talk shows, podcasts, people talking, dogs barking, children playing, angry birds, the internet, cars passing by on the street outside, telephones, the physical presence of another person in the same house where I’m working, the occasional need to eat, the even more occasional need to sleep. All of these things are immensely off-putting. I have only one real requirement in order to write productively: absolute silence for long stretches of time. Days if possible. Several hours at a minimum. As a rule, I write every available silent hour of every available silent day. Excuse me, my neighbor’s kids are screaming in Russian and I have to go yell at them in Russian to shut up. If you ever need to do this, the Russian for “Shut up!” is “Заткнись!“
Okay. They stopped screaming. At least for the moment. But now my spell-check has automatically gone into Russian spell-check mode. Which is annoying, to say the least. We’ll have to continue this later. До свидания, мальчики и девочки.
[Editor's Note: If you're the type of person that enjoys experimental short film, you might enjoy this. If you're not, I promise to not.]
Here’s another short I wrote and directed. This time out, I used a crew instead of trying to do everything myself. In essence, the film is a re-telling of the story [...]
[Editor's Note: If you're the type of person that enjoys experimental short film, you might enjoy this. If you're not, I promise to not.]
Here’s another short I wrote and directed. This time out, I used a crew instead of trying to do everything myself. In essence, the film is a re-telling of the story of long-suffering Penelope, wife of Ulysses, shortly after her husband’s return after a long absence (Trojan War + Odyssey). It was shot at the Elephant Theater in Los Angeles over twelve or fifteen frenetic hours, and edited as always by Stacy Goldate. Three actresses all played the same role, reciting the same lines, and then were intercut. The three marvelously talented actresses are Cassie Jaye, Hollie Overton, and Mim Drew, all of whom did amazing work on short notice. My cinematographer was Ava Berkofsky, who a) is a gifted photographer, b) has an extremely talented eye, and c) proved willing to put up with my tyro notions, greatly to her credit. The rest of the fine crew you can find here. I in no way deserved the hard work everyone put into making this thing, and hope that the result, however oblique, complexly-layered, and deliberately opaque (both literally, in the lighting, and metaphorically, in the writing), do not prove too off-putting to any potential viewer.
We shot in HD using two Panasonic JVX-200s, a camera I would probably not use again, especially now that the Red system is available. Oh, and one last note: the off-screen voice of the “director” was (pretty obviously, I think) created on my computer but I forget how I did it.
Enjoy!
Diegesis from James Greer on Vimeo.
“Jean-Luc Godard isn’t the only one who films the way he breathes, but he breathes the best.”
– François Truffaut, L’Avant-Scène, 1967
Source: The Criterion Collection
“Jean-Luc Godard isn’t the only one who films the way he breathes, but he breathes the best.”
– François Truffaut, L’Avant-Scène, 1967
Source: The Criterion Collection
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"James Greer, one of the nimblest and most multilayered American fiction writers, has, with his latest novel The Failure, pulled off a sublime and shivery-smooth literary hat-trick-cum-emotional-gotcha. I defy anyone to come up with an equation to explain how this book's first impression as a ridiculously clever, funny crime story can gradually disclose a metanovel built from far more encyclopedic scratch only to reveal upon its conclusion a central, overriding thought so heartfelt literally it trembles your lower lip. This is one stunning piece of work."—Dennis Cooper"James Greer's The Failure is such an unqualified success, both in conception and execution, that I have grave doubts he actually wrote it."—Steven Soderbergh"Greer has done it again: a big-city, techno-jargon-filled thrill-ride with slick medium-brow drop references to our (once-shared) mythological hometown. What could be more poignant?"—Robert Pollard"How do you assess if your life has been a success? For starters, take time and turn it on its head. You'll first need to find its head. Luckily, James Greer's novel The Failure will help--it's a brainy, boisterous, unsettling, and unsettled look at a group of people thrust into the most confounding of existences, complete with petty crime, high science, love, sex, and cars. The narrative winds and darts, gleefully uncooperative. The characters have funny names and sometimes funny existences. Still, you will recognize them. They are us."—Ben GreenmanUnreservedly Recommended
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Everything Flows
A collection of my “stories,” leaning hard on the figurative sense […]










