Writer, artist and Soho dandy Sebastian Horsley has died of a suspected heroin overdose, just days after after a play based on his memoir opened in London. As Toby Young says, “I’ve met a few Soho characters in my day and most of them were drunken bores. Not Sebastian.” He continues:
“He styled himself an artist, but his true genius was for conversation. Aphorisms and one-liners came pouring out of his mouth like gusts of fresh air, blowing away received wisdom and herd opinion like so many cobwebs. He was steeped in the works of Oscar Wilde, but could just as easily quote Balzac or Flaubert. I never spent an evening with him without having to write down something he’d said immediately afterwards.”
Asked by 3:AM‘s Sophie Parkin as to why Dandy in the Underworld couldn’t have a happy ending, Horsley replied, “Because anything that consoles is fake. You see, the good ended happily, and the bad unhappily, that is what fiction means.”
Today as people everywhere are raising a glass in honor of Bloomsday, Joshua Cohen traces the heirs of Joyce’s Ulysses, from Wales to Russia to Turkey to Argentina:
I wrote a book called Witz. It’s capacious (800 pages). It’s complex (puns in a dozen languages: fun in a daze of longuages). And it’s about a Wandering Jew – the Last Jew in the world.
A friend of my father called after having tried a page to say, “It’s like the Jewish Ulysses.” That wasn’t a compliment. Problem is, James Joyce‘s Ulysses is already the Jewish Ulysses; featuring, as it does, Leopold Bloom – that Dubliner born Jewish, raised Protestant, converted to Catholicism to marry Marion “Molly” née Tweedy, who at the end of the novel says “Yes” a lot. That’s what I said to my father’s friend. “Yes,” I said, “yes.”
That wasn’t a compliment either: I knew he wouldn’t get the reference. I began wondering. If Ulysses was the Jewish Ulysses – and the Irish Ulysses, too, one would think – shouldn’t other cultures have Ulyssi of their own? Having worked as a weekly book reviewer, I came across marketese like this all the time: “Known in its nation of origin as the Icelandic Ulysses” – publicity talk for “a difficult but ultimately rewarding novel by a dead man from Reykjavik.” In other words, the summa of a culture.
The best work of art, in any medium, that I’ve come across this year is Douglas Gordon and Philippe Parreno’s film Zidane. Almost exclusively following Zizou through an entire football game – a game during most of which he’s not really ‘doing’ much other than meandering one way and another or indulging his nervous tick of scraping the top of his foot against the grass – it’s a brilliant disquisition on time, event-space, mediation, consciousness and, of course, repetition. During half-time we pan out from the stadium to find out what else is going on in the world during the game, and see, among footage of various trade pacts being signed, space missions being launched and so on, the inevitable image of a roadside bomb in Iraq’s aftermath – and one of the blood-soaked, screaming victims is wearing a Zidane t-shirt. I think it’s a major masterpiece.
It’s easy to feel helpless in the face of vast public events, especially if we didn’t support them, as the majority of the UK population (‘remain’ voters + abstainers) did not. My question is one that I’ve been asked several times since Friday: what can writing do in the face of this situation?
By John Rogers. London Overground retraces Iain Sinclair’s journey with film-maker Andrew Kötting around the Overground railway for the book of the same name. The film covers the ground over the course of a year rather than the day’s walk of the book. Iain is once again joined by Kötting in parts, along with Chris […]
Specimen, a multilingual and typographical webzine, will be launched at Babel Festival in London on June 18th. The debut issue includes work by Derek Walcott, Peter Doig, Enrique Vila-Matas, Aleksandr Hemon and Xiaolu Guo. Keep up with them at @babelspecimen A Typographic Glossary – From A to T by Vanni Banconi Accent Specimen is a […]
Readings by Mike DeCapite, Vincent Katz, and Luc Sante. Short films by Ted Barron. It’s at 4pm on June 12th — and it’s free! Details here. 6 EAST 1ST STREET NYC 10003 [Photo: Ted Barron, J Train Rails, 2008.]
Maybe Muhammad Ali came not to destroy boxing but to fulfil it. But he destroyed it nevertheless. Before Ali, boxing was an existentialist art form in the same way as jazz and the blues were existentialist art forms. By existentialist I mean places where people were busy drowning and it was an impertinence to try […]