FOUR BY THREE MAGAZINE in conversation with Jean-Luc Nancy
What would it mean for philosophy to listen? What does silence or the self sound like? French philosopher Jean-Luc Nancy talks to four by three magazine about the responsibility of philosophy, his approach to the arts, the noise of being and the difference between seeing and hearing oneself.
On 29 October 2016, over the course of nine hours, teenagers in Worcester, Telford and Cannock will be taking control of their local libraries, and performing live to a worldwide audience. Through a unique project supported by Arts Connect and ASCEL West Midlands, the group have been working with award-winning artists Blast Theory and author Tony White (above) to reimagine libraries, storytelling and their place in the world. This work will come to life in an ambitious and fun nine-hour takeover of the three libraries, starting in Telford (3pm – 6pm), then Cannock (6pm – 9pm) and ending in Worcester (9pm – midnight).
The young people involved have been invited to reimagine the role of libraries as cultural centres and explore the power of storytelling. The stories that have been developed from the workshops will be told in three consecutive performances which will be streamed live here from 3pm – midnight on Saturday 29 October 2016. This groundbreaking project forges a new approach to collaborative arts engagement between artists, teenagers, audiences and local authorities.
Author Tony White comments; “It has been an incredible privilege to work with really inspiring and creative young people in Cannock, Telford, Worcester, and beyond, and I’ve learned a huge amount from all involved. When so many libraries are closing and under threat, I’m glad to have seen again first-hand the vital role that libraries and librarians play for young people today, and to have been reminded of just how important my local library was to me when I was their age. With A Place Free of Judgement, I feel that we are giving something back, and I hope people enjoy it.”
Congratulations from 3:AM to Bob Dylan for winning the 2016 Nobel Prize for Literature..
The Nobel Prize in Literature for 2016 is awarded to Bob Dylan
“for having created new poetic expressions within the great American song tradition”.
‘If it is possible to produce misery one should produce it thus.’ Kafka.
‘Nothing can be drawn from these outbursts, this turmoil of death, that a non-poetic language could express… the poetic vision is not submitted to common reduction…‘ Bataille
‘He’s the imperishable actor whose confirmed sophistication drives a drama that’s fugitive, driven in an operation that’s always changing physically, materially, visibly and on the spot, that always asks about the revolution, knowing that everyone cries out for that even though they might not bargain for what they get when it arrives. He’s an occult crew of band slaves where human breath suddenly shifts and the voice molecularly transfers to a new register. Throughout he manages to hold down magnetically the openings and soarings in a mysterious, beautiful, mesmeric pure flight. The atmosphere that results is physically rotten with actual poetry, naked and atrocious. Dylan works the psychic state between the schism of spirituality and sensibility. There’s always an organic scream in his voice, a mood that’s bloody and light, definitive and opaque, gripping sincerity that has nothing to do with authenticity but more a matter of grace and dense concentration. And then there are these heartbreak songs where what haunts their edges are the monsters of copulation and catapulted breath. The heart is heavy here, and both betrayed and a betrayer. Forces have been gathered from other places, other voices, other times and then in a lukewarm psychic night of suicides and near suicides simple contradictions come home to roost. Here frailty and aberrant life are distilled into lucid sensibilities of martyred defeats and desire.’
‘Dylan rewrites Dante as a type of Orasmus Turner life cycle, the woodsman thing, a rapid eye movement that gave you the essence of pioneer life – kids arriving, neighbours, a railroad getting laid – four intervals – six months, two years, ten years and then a lifetime all coming into his head in a great water chute of energy – like, if you don’t know where you’re going then all roads are going there – mills, water-powered, single-bladed, and friction feeds, edgers, drying kilns, logs hauled to the river’s edge, splash dams, slender logs, crooked logs, rotten logs, sunken logs fished up from the river bottom, beams that made railway bridges, rafters in Gothic cathedrals, shingles, spools, pail handles, veneers, wooden furniture pegs, hemlock bark for the tannery, combing brains for reclamation, trees, doors, blinds, sashes, massive stumps, steep slopes, firewood, furnaces, charcoal, Hanging Rock, Allegheny Valley, Juniata, Scioto, Jackson, Vinton Counties, Ramapos Mountains, steamboats, steam engines, steam locomotives, where to imagine America without trees is to imagine another world. In this is ‘Scarlet Town’, his damned Titanic, New York, everything.
Memory and the soul collide in Dylan. Memory draws us back into time when the soul seeks release. The great tension in Dylan is awareness of the time coming where time ends. His consciousness of the history of this process is of ‘Two trains running side by side, forty miles wide… I think when my back was turned the whole world burned… we cried because our souls were torn, so much for tears, so much for these long and wasted years.’
Knausgaard on Dylan: ‘ “Peter wanted to see Bob Dylan’s childhood home, so we drove there first; it was just a few blocks away, up a steep hill behind the hotel. It looked exactly like all the other houses in the neighborhood, a small wooden duplex with a grassy patch in front. There was no sign indicating that Bob Dylan grew up here, nor was there a statue of him. That seemed appropriate, for in contrast to the other 1960s artists who were still alive, there was nothing about Bob Dylan to remind one of a statue, nothing about his music or his role had become rigid or clearly defined, no final form enclosed him. In fact, it was as if he weren’t really a person at all, but had somehow dissolved into his music. His old songs were constantly in motion, and the new songs emerged from the same stream. As he traveled around, permanently on tour, you couldn’t tell what came from him and what belonged to the American song tradition; he was just playing the music. On “The Basement Tapes,” you can hear how he discovers this mode for the first time, how he begins to live in the music, as he keeps tossing out one tune after the other, song after song, some of it fantastic, some of it junk, some of it interesting, some of it nonsense, and it doesn’t matter in the slightest, for the whole point is the lightness; that all demands for perfection and completion, for flawlessness, have been suspended; and the motion.
All writers, artists and musicians know the feeling: when you disappear into what you are doing, lose yourself in it and are no longer aware that you exist, while at the same time the feeling of existing is profound and total and what you make is never better. Work created in this state really shouldn’t be published in the artist’s name, because it has been created precisely by the artist’s non personal, non-individual, selfless side. Bob Dylan is the master of the selfless self, the king of the not-one’s-one, a deeply paradoxical figure who lived and breathed the music of this deeply paradoxical country”.
“Jam Magazine: What’s your opinion concerning Bob Dylan’s nomination to the Nobel Prize?
Greil Marcus: Well, if Dario Fo won a Nobel Prize, I think also Bob Dylan could….Seriously, as well as I don’t think Dario Fo’s is true literature, I don’t think Dylan’s songs are true literature, either.”
Reading the illegible. * Deconstruction — an American tale. * Adam Biles on ultimate questions. * Adam Biles at Shakespeare and Company (podcast). * Shirley Jackson‘s disappearing act. * Ennio Morricone‘s Il Gruppo. * My erstwhile neighbour Marcello Mastroianni. * Former 3:AMer Jude Rogers reviews Simon Reynolds‘s Shock and Awe. * My review of Grand Hotel Abyss in the Irish Times. * Max Porter on grief and creativity. * Deborah Levy: “Yet, it’s when I detour from the map and get lost that the writing starts to open its eyes”. * Deborah Levy on mothers and daughters in literature: “In Things I Don’t Want to Know, I wrote that the modern mother is required to be ‘passive but ambitious, maternal but erotically energetic, self-sacrificing but fulfilled’. This is the call made on strong, modern women. It is best not to take that call”. * Deborah Levy at Shakespeare and Company (podcast). * Walter Benjamin‘s short stories. * New fiction by Gary Lutz! * KJ Orr wins BBC national short story award. * An interview with KJ Orr: “And because short stories are so compressed, this wrangling can be powerful. So you have the possibility of things getting sorted right alongside all the uncertainties that are never soothed, the mysteries that are never solved, and the gaps in understanding”. * The magical Claire-Louise Bennett in Vogue: “‘That capacity to just be absolutely immersed in the world in the present moment is just, well, it’s just bliss, isn’t it?’ says Bennett. ‘It is bliss to just be able to feel that, and so much gets in the way of it.’” She’s also in the Paris Review and a new story of hers appears in Guernica. * Lauren Elkin talks to Brian Dillon at the London Review Bookshop. * Lauren Elkin on Flâneuse (podcast). * A young Patti Smith in a 1971 BBC documentary. * Lara Feigel on The Lesser Bohemians: “McBride manages to get across the essential strangeness of sex itself: the disjunction between the triviality and repetition of the physical acts and the intense, high emotion with which we can experience them; the way that within a single encounter we can go from being just bodies, doing odd things to each other, to minds, urgently expressing love, without it being easy to define what has shifted”. * Eimear McBride on how she wrote A Girl is a Half-Formed Thing. * McBride interviewed: “Friday night, my husband and I put the baby to bed, put on the telly, eat Chinese takeaway and that is the best part of every week”. * Jonathan Meades on “yesterday’s cancelled tomorrows“. * Samuel Beckett, the maestro of failure: “What is life but preference for the ginger biscuit?” * Ben Lerner interviewed. * Brian Dillon on Against Everything: “The best essays Greif wrote for early issues of n+1, a number of which appear in Against Everything, are actually indebted to a different intellectual tradition. They read as if the Roland Barthes of Mythologies, or the LA-exiled Theodor Adorno of Minima Moralia, were deposited amid post-millennial American culture”. * Brian Dillon on the history of word processing: “This review is being drafted with a German fountain pen of 1960s design – but does it matter? Give me this A4 pad, my MacBook Air or a sharp stick and a stretch of wet sand, and I will give you a thousand words a day, no more and likely no different. Writing, it turns out, happens in the head after all”. * Brian Dillon on Brexit: “In its buildings, theatre and cinema, in its music and cuisine, in the brief prospect of al fresco socializing and sexual license that it conjured, the seaside resort was an image in microcosm of a fantastical, desired Europe”. * Irish writers (including Dillon) react to Brexit. * Tom McCarthy vs Brexit. * Tom McCarthy joins the “Ship of Fools”! * Tom McCarthy, the nude artist’s model. * Art school sketches of Iggy Pop in the nude. * Jacques Vaché‘s not dead. * An interview with Adrian Sherwood. * Our Joanna Walsh: against the novel. * Joanna Walsh interviewed by Rob Doyle. * The Manifesto: from Surrealism to now. * The little-known Maeve Gilmore. * In search of the real Maeve Brennan: “something lovely and unbearable is happening on the page”. * Walter Benjamin‘s tales out of solitude. More here. * WG Sebald‘s collected maxims. * The anticriticism of Jonas Mekas. * The return of Geoff Dyer. * Geoff Dyer at London Review Bookshop (podcast). * An interview with Geoff Dyer. * Geoff Dyer on the startling beauty of scarecrows. * White Sands reviewed: “I don’t know how to define the book. It is neither exactly fact, nor precisely fiction”. * On White Sands: “Like Kraftwerk in the 1980s, Dyer is now in the position where the world is catching up with what he has long been about”. * Will Self’s writing routine. * Will Self introduces Solaris. * Will Self on the meaning of life. * Will Self on Britishness. * Will Self: what’s wrong with modern art? * Simon Critchley on Memory Theatre. * The Kitchen at 40. * Chris Power on Lucia Berlin‘s “hardboiled domesticity”. * Sarah Bakewell on her At the Existentialist Cafe. * “François Dosse is keen to portray his subjects [Deleuze and Guattari] as visionaries, but they anticipated a future neither of them would have wanted to live in.” *Revisiting Land art. * Troublemakers: The Story of Land Art. * His other struggle: Knausgaard, the publisher. * Knausgaard on James Joyce’s Portrait. * Michael Bracewell on the Collin Fallows Ensemble. * Reading with Woolf. * Maurice G Dantec R.I.P. More here. * Bill Cunningham R.I.P. More here. * Jenny Diski R.I.P. * Jenny Diski‘s In Gratitude reviewed. * Anne Enright on Jenny Diski: “Oblivion was something Diski craved, all her life – she travelled to Antarctica to find a place that was truly blank. Writing too was a kind of ‘nothing'”. * An interview with Stephanie Danler. * William Boyd on Jacques Henri Lartigue. * The Bothy Project. * George Shaw‘s My Back to Nature exhibition: “We ourselves are part of nature, the stains of our lust and violence belong in a painted forest now as much as they did when Poussin painted a nymph touching herself while a satyr takes a peep” (Jonathan Jones). More here. * The wild beauty of Georgia O’Keefe: “‘I’ve always been absolutely terrified every single moment of my life,’ she said, ‘and I’ve never let it stop me from doing a single thing I wanted to do.'” * David Bowie, “the missing link, as the book wryly suggests, between Sammy Davis Jr and Samuel Beckett”.
Who says serious political protest can’t be earnest & hilarious all at once?
For a limited time, 3:AM is pleased to welcome submissions of fiction and prose for online publication.
The editors share a particular interest in writing that is linguistically and formally experimental. We value the bold, the considered and the deft.
The window for submissions begins today 4 October 2016 and will remain open for four weeks: the closing date for submissions is 4 November 2016 (GMT). Any work sent after midnight on this date will not be considered.
Please find a list of guidelines as per the submissions process below. We look forward to reading your work.
Photography exhibition @ Nakano Moonstep, Tokyo. 19 & 20 October (daily 14-23.00)
A photography exhibition documenting the five years Chris Low spent immersed in Tokyo’s underground punk scene: its faces and places, bands and fans.
Having played for a number of punk bands popular in Japan Chris was welcomed into the thriving Tokyo punk community and was accorded access to a scene he found to be the most exciting and vibrant of any punk movement he’s ever encountered. It’s a culture that exists and flourishes in the face of traditionally conservative Japanese society. Most impressive of all, perhaps, is that to facilitate this dynamic movement a whole infrastructure of gigs, parties, shops and bars have emerged in accordance with punk’s original DIY ethic: Run by Punks, For Punks
The reference points of Japanese punk are similar to those reflected in Western punk styles – the UK82 mohicans and studded jackets; the biker-traveller hybrid of the crust tribe or the utilitarian black of the anarcho-punks. However, like much in Japanese culture both the look and the music are pushed to extremes.
Today’s Japanese punks wear their influences proudly painted on their studded leather sleeves. In Japan entire subgenres of punk have emerged and mutated like D-Beat forged from Discharge’s “Noise Not Music” ethos or the recent wave of “Young, Loud, Pissed & Proud” Pogo Punk bands.
It’s a scene that despite Japanese punk’s reverence within the punk community worldwide and the legendary status of such acts as The Stalin, GISM, Gauze, Confuse, Kuro, LSD, Crow or Disclose remains largely undocumented.
These photos tell the stories and evolution of their subjects caught in the camera lens. The spiked hair grows higher whilst the favourite bands du jour replace others in the fight for space with increasingly studded jackets. Bands initially only attracting a handful of friends to their shows later pack out clubs. A fresh-faced punk girl in the front row of one of her first gigs is five years on the singer in one of the most popular acts. A baby is held in the crowd by it’s mother, unflinching amongst the pogoing throng. A singer crowd-surfs and is carried aloft by the crowd, following his guitarist who has just been deposited at the back of the hall to continue playing.
There is no generation gap within the punk generation and any suggestion of punk being a fashion parade would be rightly countered by protests of it being “a way of life”. As, indeed, it is. Punks in Japan are outsiders not only by appearance but in their anarchistic opposition to authority and the state. Punk for them is a way of life with its own belief system as well as musical tastes. As has characterised every notable subculture over the years. In UP YOURS! TOKYO PUNK& JAPANARCHY TODAY this sense of subculture is still as strong and defiant as ever. As much a culture of opposition to commerciality as it is to mainstream society.`
Chris’s photos capture this in full colour, snapped on no more than a cheap pocket camera in keeping with the DIY ethos of his subject matter. In his own words: “It’s punk – not a Pirelli calendar!”
Crosspath Theatre with Tilt presents
Roll Over Atlantic
Written and Performed by John Agard
One of Britain’s foremost cross-cultural voices and winner of the Queen’s Gold Medal for Poetry, Caribbean-British poet John Agard performs a quirky reimagining of the notorious voyage of Christopher Columbus.
UK Touring Oct 2016 – May 2017
LIMITED PRESS TICKETS AVAILABLE: 14, 15 and 16 October, The Royal Festival Hall
A creative departure from his many poetry collections, John Agard brings his irreverent wit from page to stage, as he variously takes on the voices of Christopher Columbus, the Atlantic, a native shaman, a mutinous crew, and even a chorus of politically-engaged mosquitoes. Written in verse and performed against a background soundscape of Atlantic murmurings and symphonic mosquito buzzing, Agard takes his audience on a fantastical, fanatical historic voyage that still bears relevance to contemporary issues. Roll Over Atlantic is a satirical revisiting of the voyages of Columbus. Whether glorified or vilified, Columbus’ accidental ‘discovery’ of the so-called New World gave a kickstart to globalisation, bridging Europe, Africa, Asia and the Americas, and joining forever the fates of these separate hemispheres and eco-systems
‘My influences behind my latest show include what I would describe as having the sentiment of the “Poetsonian” – a combination of poetry and the rhythms of calypso – and the satirical, irreverent potential of cabaret. As a former Poet In Resident at the National Maritime Museum, producing work to accompany objects in the museum’s Atlantic: Slavery, Trade, Empire gallery, I found myself wondering how could the Atlantic, so tainted by the slave trade, find redemption, “to make a libation of itself”’ – John Agard
Famed as an outstanding performer and a multi-award-winning poet, John Agard was winner of the Queen’s Gold Medal for Poetry in 2012 and was a guest on Desert Island Discs in 2014 (listen here). Born and educated in Guyana, John came to Britain in 1977. His awards include the Casa de las Américas Prize (1982), Paul Hamlyn Award (1997) and a Cholmondeley Award (2004). His book, We Brits, was shortlisted for the Decibel Writer of the Year Award and he has won the Guyana Prize twice. In 1989 he became the first Writer in Residence at London’s South Bank Centre and has subsequently been poet-in-residence at the BBC and the National Maritime Museum. His many collections of poetry for children and adults, include Travel Light, Travel Dark and Alternative Anthem, The Young Inferno – a spin on Dante’s classic for young readers which was awarded the 2009 CLPE Poetry Prize – and Goldilocks on CCTV, a teenage collection inspired by Fairy Tales. He is on the current GCSE syllabus and performs his work widely across Britain as part of GCSE Poetry Live. His plays and works for performance include Puff (Crosspath Theatre, 2013), Dead Head (in collaboration with composer Orlando Gough) and a number of works for Little Angel Marionette Theatre.
Director Mark C. Hewitt is a director and playwright. Recent directing work includes Dementia Diaries by Maria Jastrzebska (LLL Productions, 2009/2011), Weight: three stories about secrets by Catherine Smith (LLL Productions, 2010), Puff by John Agard (Crosspath Theatre, 2013), Dora vs Picasso by Grace Nichols (2015) and Zones of Avoidance by Maggie Sawkins (2013/14), which was winner of The Ted Hughes Award for New Work in Poetry. www.mchblank.co.uk
Crosspath Theatre was founded in 2010 and aims to bridge poetry and theatre through a celebration of resonant text and orality. Fusing a range of traditions and linking cultures, Crosspath brings the communal energy of folk narrative, mythology, panto and the carnivalesque to contemporary issues and hidden histories.
Tour Producer Tilt curates and produces spoken word events, tours and commissions with the aim to champion the spoken word artform in all its forms. They have built up a strong track record for creating convivial and mood-changing experiences for audiences who want to see high-quality events, mashups of music, performance and culture including Jamdown Meets Liming at the V&A, and touring events to Bestival, Ilkley Literature Festival, New Art Exchange and the Bluecoat. In 2016 – 2017 they are touring with writers and broadcasters Gary Younge, John Agard and Martin Figura.
@TiltSpokenwd | #RollOverAtlantic | www.crosspath-theatre.co.uk | www.ontilt.org Running Time: 90 minutes including interval | Suitable for ages 14+
Listings information for Autumn Tour Season 7 Oct 2016 Cheltenham Literature Festival
The Little Big Top, Imperial Square, Cheltenham GL50 1QB 9pm | £10 www.cheltenhamfestivals.com | 01242 850270
14 – 16 Oct 2016 Southbank Centre’s London Literature Festival
The Blue Room, The Royal Festival Hall, Belvedere Rd, London SE1 8XX 7:30pm | £12 (£6 concessions) www.southbankcentre.co.uk | 0844 875 0073
9 Nov 2016 Nottingham Festival of Literature
Nottingham Arts Theatre, George Street, Nottingham, NG1 3BE 8pm | £8.95 – £10.95 www.nottinghamcityofliterature.com | 0115 9476096
1-5 Mar 2017 StAnza Poetry Festival
More dates in 2017 TBA
Monsanto on trial: London
by Global Justice Now
Fri 7 October 2016, 18:30 – 21:30
Event Information DESCRIPTION
This October, seed and pesticide corporation Monsanto is facing an international court in The Hague. While this is just a symbolic people’s court, the witnesses and judges are real. They have been called because they have suffered human rights abuses, threats to their communities and destruction of their environment. Come and hear from one of these witnesses, Farida Akhter, who is touring around the UK before travelling to the Hague for the tribunal.
Global Justice Now has commissioned photo journalist Jordi Cirera to visit some of these witnesses in India and Bangladesh. His photos tell the stories of farmers who are fighting Monsanto to work out an alternative model of farming.
Farida Ahkter – a Bangladeshi seed sovereignty campaigner and founder of biggest collection of community seed banks in the world
Heidi Chow – Food sovereignty campaigner, Global Justice Now
Q+As, discussions and refreshments
DATE AND TIME
Fri 7 October 2016
18:30 – 21:30
35 – 47 Bethnal Green Road