:: Reviews

paper monument: an experimental review published 29/08/2018

There is no true storyline or arc he can find in the mess scattered around him, and Bracher structures the novel in similar fashion, without clear scenes, sections, or guideposts: “Fragments of life in no particular order, awaiting imagination, or a need, or whatever might sew them together.” The novel’s form is pragmatic, intriguing in its difficulty, because Bracher’s aim is to reveal a person, not a plot. By the end the pieces seemed to be arranged with great sophistication. Gustavo was realistically vague, broken, loyal, angry, disappointing, brilliant, and unknowable.

The system of anecdotes and interruptions, polyphony of voices and interjections from people who aren’t identified until several pages later, wind around the central core of Gustavo’s guilt about Armando’s death, all of which Morris handles superbly in English. “Bracher knows how to make you love and hate someone simultaneously,” the critic wrote for her review in the far-away newspaper, and wasn’t surprised when it was used as a pull-quote.

Matt Jakubowski experimentally reviews I Didn’t Talk by Beatriz Bracher.

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Daniil Kharms’ Blank Message published 27/08/2018

Kharms’ plays would be reminiscent of koans if his characters were at all laconic. For all the nonsense they speak, they have a real exuberance for throwing words at one another. Of a man in a coffin, “green with death”, it’s said that “to seem alive, he talks all the time.” Specifically, he talks about how to make soup: “When the water boils throw a carrot into the water…No you must put a carriage in the water. Although that’s not exactly true.”

Kris Bartkus reviews A Failed Performance by Daniil Kharms.

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never quite on published 18/08/2018

Sometimes there’s a cautious suggestion that one of the characters may have laughed, but any actual joke remains firmly off stage. Of Marianne’s best friend Peggy we are told, ‘there’s no limit to what can her brain can do, it can synthesise everything she puts into it, it’s like having a powerful machine.’ This is rather like a Rooney novel: deftly constructed, impressively immersive but slightly chilling in the serious monotone of its emotional register.

Imogen Woodberry on Sally Rooney

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The View from the Cosmos published 13/08/2018

L’s propensity to deal in subject matter that is difficult to parse is not limited to science and hard mathematics. The collection is repeatedly concerned with religion and theology. Smith’s approach to religion finds a way of skirting the all-to-easy pitfalls of naiveté and cynicism. Her stories thread these by approaching religion with extreme interest and no commitments. By rejecting any sort of orthodoxy or dogmatism, she is able to pull from Christian tradition, Biblical literature, and speculative theological thought in a way that employs religion as yet another narrative tool. The plethora of religious themes also lends her writing an intuitive moral center. The subverted Christian vocabulary and imagery adds a weightiness to her stories.

Stephen Mortland reviews L by Theresa Smith.

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Beckett – Videogame as Literary Artefact published 07/08/2018

As a multi-platform literary narrative, Beckett is a successful prototype for a hybrid literary/graphic form that has substantial artistic potential in its combination of text, image, film, found objects, movement and music. Its pared-down style leaves the user’s imagination as free as when reading a work of literature. It is fragmented in that it’s constructed from cut-ups and found objects. It’s a collage. It works as a piece of Dadaist art. Beckett, the game, doesn’t compromise by aiming for some kind of “digital realism” or filmic virtuality. It is literary and visual. It has more in common with George Braque and Cubism than with a narrative driven comic book.

Des Barry reviews the Beckett game.

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Is Time Travel Possible? Are We Close to Doomsday? And Other Big Deals… published 04/08/2018

The Doomsday Argument applies anthropic thinking to our place in history.  It says (roughly), we should favour the prospect of imminent human extinction on the grounds that our location, qua randomly selected humans, is more probable if a large fraction of all humans there will ever be have already lived.  In other words, the argument runs, if we apply anthropic reasoning to our location in history, we should increase our probability for history being close to its end.

Continuing the End Times series, Richard Marshall interviews Alasdair Richmond.

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Drift: A review of The Mars Room by Rachel Kushner published 31/07/2018

If DeLillo’s ambiguous American voice looks for its place through roving across the multitudinous American landscape in Underworld, then in The Mars Room, Kushner looks to place her voice in two confined spaces, the strip club and the prison, contrasting various forms of solitude, through circumstance, through choice or as a mode of self-protection. Though the novel itself is made of voices, they are solitary – the perspectives from which they write are uniquely alone.

Katie Da Cunha Lewin reviews The Mars Room by Rachel Kushner.

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opening one’s lonely body: olivia laing’s crudo published

Virginia Woolf describes how one’s many selves are ‘built up, one on top of another, as plates are piled up on a waiter’s hand’. Olivia Laing’s Crudo chooses to examine the stack in its entirety. In her biography of post-punk poet and novelist Kathy Acker, Chris Kraus writes that ‘Acker saw her “self” as composite. To make her “self” larger, she sought to cannibalize the intelligence of others whenever possible.’ Kraus and Acker were contemporaries, vague acquaintances, and shared a relationship with cultural theorist Sylvère Lotringer. Neither condemning nor forgiving, Kraus’ biography quietly states Acker’s pretensions: ‘In London, she played chess with Salman Rushdie’. It simultaneously respects and makes space for Acker’s preoccupation with bodily relationality.

By Imogen Morrell.

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Masters of Illusion published 25/07/2018

Being a specialist or expert—in any field—is supposed to project an image of competence based on verifiable evidence of competence. In questioning this, The Econocracy is in essence an exercise in the deflation of economic expertise. If their argument is right, then we have little reason to believe that economists are bona fide experts, let alone ones we should leave to their own devices.

Alexandre Leskanich reviews The Econocracy by Joe Earle, Cahal Moran, and Zach Ward-Perkins.

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Lost Artifice: A review of Lost Empress by Sergio De La Pava published 24/07/2018

On its surface, Lost Empress pays homage to the Hoosiers and the Rudys of the world; we know, as we do with all feel-good sports stories, that the Patterson Pork and the IFL are going to achieve a healthy measure of success. At its core, however, Empress is a conversation with the reader. From its informal structure to its colloquial phrasings, the novel reads more like an incredibly eloquent anecdote shared at some bar with its literary bedfellows.

Brian Birnbaum reviews Lost Empress by Sergio De La Pava.

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