Category Archives: postmodernist novel

A Moda

A modest announcement

I have just finished a new novel about Film and Democracy set in Cinema in the south of France.  For those interested, stay tuned.

And as ten years ago was the year of the first publication of Uncorrected Proof, a Kindle version of that novel is up on Amazon. If you didn’t read first time, why not read it now.

http://www.elephantearspress.com/UncorrectedProof.html

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Narratorial Unreliability

Christian Mihai discusses his ideas on unreliable narrators, something he likes to see writers use, and a technique he says he uses himself. Still, he misses a fundamental point – all narrators, storytellers, dramatists, poets, are unreliable. From Homer, Shakespeare to Sartre, no writer tells, gets close to ‘the truth’, even if he or she is prepared to die in the process of collecting all the observable details of a factually based fiction.

Catherine Lacey

Do we trust Tolstoy’s account of Napoleon in War and Peace? Perhaps… if we are Russian.

Narrator unreliability doesn’t have to be a first person account, though the most obvious modernist exploitations of narrator unreliability in fiction use that form. The best approach – for this writer at least – is when the writer sets out to deceive us, and by convincing us that he or she has told the truth, transfers any doubt on narratorial reliability to a reader’s interpretation of the tale.

where is “Bukowski” by Swimanog listed on Google

  1. fiction | Swimanog

    swimanog.wordpress.com/category/fiction/

    11 Mar 2012 – His first book was a translation of Charles Bukowski’s The Days Run Away ….. “[I] found the order (or found the copy on Google Book Search 🙂

    You’ve visited this page 2 times. Last visit: 15/04/12 (did I? My memory must be playing tricks…)
  2. politics | Swimanog

    swimanog.wordpress.com/category/politics/

    19 Feb 2012 – I am writing to point out Google’s association – inadvertent association, http://swimanog.wordpress.com I put the post up on 18th May, 2009. (was it worth it?)

  3. postmodernism | Swimanog

    swimanog.wordpress.com/category/postmodernism/

    11 Mar 2012 – “[I] found the order (or found the copy on Google Book Search 🙂 …. and artists listed in the book’s acknowledgements starting with ABBA!). (Why not begin with ABBA?)

  4. Blogroll | Swimanog | Page 2

    swimanog.wordpress.com/category/blogroll/page/2/

    17 Aug 2010 – It was Bukowski’s birthday (16th August) – the LA Times alerted me. …. “[I] found the order (or found the copy on Google Book Search 🙂 …. hundred authors and artists listed in the book’s acknowledgements starting with ABBA! (ditto)

  5. Louisiana Alba (Author of Uncorrected Proof)

     Rating: 4 – 3 votes

    28 Jun 2009 – My blog – posts on Bukowski, Fellini, GFC and many more. Http://swimanog.wordpress.com read more » · 0 comments …. A good overview, that puts Google in perspective, answering many questions if not all. Dec 07, 2011 … (now putting Google in perspective…?)

  6. LiteraryMinded – Part 45

    blogs.crikey.com.au/literaryminded/page/45/

    26 Sep 2008 – internet multinationals, such as Yahoo, Google, Cisco and Microsoft, ….. Roald Dahl and moved on to Charles Bukowski—go figure—so they … (yes, so they..)

  7. Bret Easton Ellis in Australia | LiteraryMinded

    literaryminded.wordpress.com/tag/bret-easton-ellis-in-australia/

    20 Aug 2010 – as akin to an LA literary tradition, with people like Fante and Bukowski…. RT @nztaylor: On blog: Google Ebooks launches in Australia with

  8. Top Pictures – bukowski

    en.topictures.com/bukowski

    5+ items – Top Pictures: bukowski, Image search results giving you the top

    Charles Bukowski – Wikipedia, the free encyclopedia jpg – 220×190 Charles
    Bukowski | Swimanog jpg – 300×517 Bukowski
  9. სურათები – bukowski

    ka.bestpicturesof.com/bukowski

    5+ items – სურათები : bukowskiGoogle გამოსახულებებიდან, bing-იდან

    Don’t blame Bukowski for bad poetry | Books | guardian jpg – 460×300
    Bukowski | Swimanog jpg – 300×517
    I began a search on Google to see whether all the people (listed as hits) actually did see my post on Bukowski and after going through 17 Google pages and not arriving at my post I gave up…I thought I could be in a capsule hurtling out somewhere further into the outer universe saying hello, hello.? Now, self-referencing has some sense, maybe not much sense, but some at least, more sense than ending up on page 107 on Google…Watching Damien Hirst talk about himself brought it all home. We endlessly auto-reference. Click on the links for ‘Damien Hirst’ and then on ‘himself’ a few seconds, maybe a minute later and play them simulacrously but starting at different points. Somehow to hear Hirst in disjointed stereo makes more sense (at least to me) 
    http://www.guardian.co.uk/artanddesign/video/2012/apr/16/damien-hirst-tate-modern-exhibition-tour-video
    The need to reinvent everything endlessly…
      

Uncorrected Proof Review by Kristin Johannesson

Uncorrected Proof – Louisiana Alba


A review by Kristin Johannesson.“… the random cannibalization of all the styles of the past, the play of random stylistic allusion.” Fredric Jameson. 

ʻUncorrected Proof’ could be seen as a labyrinthically shaped many-dimensional map, pointing above and beyond itself by showing mirrored images of other places in literary time and space. And that’s one reason why you do not feel trapped by the, also present, postmodern paranoia. In this book as in real life. Painting pictures pointing beyond themselves out into a vast literary universe, you may feel lost in a labyrinth but it can, and for me does, feel like an opening, or a broad road, in it’s freedom to play out and stay away from an apparent order of themes according to fit the forms in the styles of the past, and norms or ideas of originality and individuality. The text stretches out of and becomes wider than the thickening plot, which is something I think can be inferred if employing multiple perspectives on the puzzle pieces presented – which, to use the map metaphor again, can be viewed from a distance at the same time as you are caught up in it/them.

In other words it does, in my opinion and to my appreciation, knit parodies and parallells into something in which it is possible to discern a pattern, in and through the somehow accented spy novel style, making the pictures and scenes full rather than fragmented in relation to the substratum one can sense somewhere in the heart of the text. To try and concentrate my impressions in one sentence I would describe it as confusion in association with the flexibility of not being one and itself. I have personally become deeply involved in this hectic story, and though I have read it over and over from cover to cover I still do not feel I am done with it. I use the word hectic as at many points there is a bit of a stressful atmosphere with the characters and the ones who in parts in their turn play the characters, as with the authors from various times and places who file past. Others such as the fishing scenes and the pasta recipes are a bit of a break, through being a bit more worldly.

Alba’s work in itself is in my view an original one. To pick but a few illustrative
quotes which echo my impressions when reading:

“It is not just a runaway relentless river of words following mental storms or unauthorized brainwaves”,

“Themes do not overflow story into labyrinths of uncertainty, ruthlessly impoverishing if not demolishing, exactitude”.Who in the book in the end is the one or ones who has/have done wrong, if there is such a one in the story, is hard for a non-literary person like myself to express. As for picking the parodies, who has written what may not be the (only) point of interest. Hopefully. I for one am unable to identify most of the over a hundred authors said to figure in the text. To try and espy one final conclusion, a main paradox may be that the novel builds a lot on parody/pastisch as technique and in turn plagiarism as a theme, which could lead to some interesting questions on where the line can/should be drawn, for what kinds of creators, and what you have the right to do what with/with what. 

Notes from the diary of the reviewer’s work
raw thoughts which c(sh)ould be refined. the truth may be purer in this version than in the next. i’ll go with the next one.

The first copy I read was from the library. I saw some review, got curious, and made a suggestion for the library to buy it (which is my normal way of getting many of the books I read). I read this first, borrowed, copy of the book, among other contexts, while washing clothes and while watching clothes wash.

1: Excerpt Six; Inside the plot (UP, Acknowledgements)
2: Excerpt Four; Archie thinks it through (UP, p 65)
3: Excerpt Five; Alessandro gets on the case (UP, p 71)
4: Excerpt Three; Archie & Cal try to sort it out (UP, p 81)
5: Excerpt One; Ellen Spartan contemplates her fate (UP, p 86)
6: Excerpt Two; Chaos at Folio (UP, p 109)

And later, through X months’ hard labour, resulting in the above, I won my own copy. Fair enough. And fair and square. “[I] found the order (or found the copy on Google Book Search 🙂 Either way, [I] did it.”

“Hi Kristin, the copy will be sent to you on Monday.”

I re-read it when on a flight to New York. And back. I might not have concentrated as hard as I should. At this moment a clarinet played by a neighbour is mixed with birds singing through the open window mixed in turn with relatively silent electroacoustic music from my computer. The temperature is very/too high. And in addition coffeepipyng hoot out of the glede. I also made my own correspondences between style, theme and reading. For example, eating haggis when I read the part on scots. “And yer nae even scottish”. I made the pasta in the recipes in the book when I read those. Following the instructions I did use olive oil. And then I didn’t. (But to use another one of my jotted down quotes from the book “every author lies in every case”, you shouldn’t take my word(s) for this. As for haggis, I’m a vegetarian.) I have also been pondering on the author. One personal (but still quite unoriginal, I have read this opinion in other places) guess on the subject of the author Louisiana Alba, is that this is not a non-fictional character. But I would not swear on that either. “Because I know nothing about this guy.” But I am a “friend” of “his” on Facebook. Some other intriguing passages are for example the equations describing how the book (the book(s) in the book/the actual book) was written, the question “Is that Heidegger quoting Kundera or Kundera quoting Heidegger or Homer Simpson misquoting both?”, and speaking of Homer; blurbs by Homer and Brontë, the pictures of authors on the cover, the thank yous to many more in the preface. The familiarity of them seem to cover and cushion some of the literary tumbles of the eponymous author, the implicit author, the fictional author and the reader.

As at the moment being involved in library and information science, I also at points in my reviewing progress saw parallels to knowledge organization and cataloging, as well as some kind of hyper- or at least intertextuality, in the alphabetical list of authors and artist in the preface, pictures of some of them quite neatly organised on the cover, and and as mentioned reminds me of a map – which a catalogue can be as well, often concerning documents such as literature and often interesting in itself in what has been chosen for representing and how it is represented, making new stories out of, as well as new relations and associations, between older works. Some of the charm of this book lies in it waking curiosity and associations, and some of the challenge with the book lies in it making you want to solve some of its riddles, such as where allusions are, to whom, and what this in turn might imply if interpreted “correctly.”

The Paste Land
“Lou maintains you have look through the prism of Duchamp’s Mona Lisa..the mustache on the most famous woman in art..Everything is a comment, a value add on, a parodic piece of fun, a slide off the original text into something else..built inside text which itself is built inside text and so on..Foucault’s comment in ‘What is an author’, an author is only a collection of statements that have come before, comes into play. Writers often play with borrowed stories (Shakespeare mercilessly so)..Lou referenced over 100 styles. T.S. Eliot borrowed from the whole of the literary world. The Waste Land could be The Paste Land. (You are quite free to use our emails as well if you like – Uncorrected Proof is an open book published by an open press)”

– Geoff Berry… ElephantEars Press – e-mail correspondence June 2010
http://elephantearspress.com

Plot…is that all there is to fiction?

Laura Miller of Salon is the last of a long line of ‘I know best-ers’ to throw the tired old crumbly stones of  ‘writing commandments’ from the journalistic mountain top http://www.salon.com/books/laura_miller/2010/02/23/readers_advice_to_writers/index.html :

  1. Make your main character want something.
  2. Make your main character do something.
  3. The components of a novel that readers care about most are, in order: story, characters, theme, atmosphere/setting.
  4. Remember that nobody agrees on what a beautiful prose style is and most readers either can’t recognize “good writing” or don’t value it that much.
  5. A sense of humor couldn’t hurt.

Anyone who champions rules of commercial fiction risks sinking creativity to the lowest common denominator in the reader’s mind. It is so easy to force feed unknowing audiences junk culture, just as easy as it has been to promote junk food. And where has junk food got us? If Laura or anyone attacks quality or ‘difference’ be it in art, commercial fiction, food or politics, in the end, logically, it leads to totalitarianism. Commercial control of a cultural market, or political control of a society have similar roots.

We are not animals tethered to a plot line only – sophisticated readers want more than plot. If anyone reads War and Peace (a great read by the way, easy to read and enjoyable) it is a long time before any one character assumes ‘the what’s going to happen to me next driver’ aspect to his or her role, but it is there – but it is always there as part of ‘the life’ in the novel – what will happen today? It is part of all of us – but there is much more to enjoy in Tolstoy’s novel, as there is in reading Year of the Death of Ricardo Reis, The Outsider, As I lay Dying, and A Hundred Years of Solitude – all examples of novels and narratives that are far more mysterious and compelling than commercial fiction that obeys these silly rules. Laura speaks of The Great Gatsby, what do we ever discover really of Gatsby? – very little, more than half Fitzgerald’s point. Nick, we get to know. He is the character we are engaged in, the thinking centre of the novel. Hamlet was introspective and procrastinating and one of the greatest characters of all time. Just because LCD is now the major dollar driven factor in contemporary culture doesn’t make it good or good to read.

The only comment I agree with is the last – laugh while you write and hope like hell the reader laughs with you!

“Naturally, writers of genius have broken these “rules” as well as every other rule ever conceived. But, let’s face it, geniuses don’t need lists like this and couldn’t follow them even if they tried. Most writers are not geniuses, and most readers would be exhausted by a literary diet that consisted only of the works of geniuses.”

Laura’s ‘a genius can do it but the rest can’t argument’ is in effect: shut down all experiment, close the door on dissent. Who knows what genius is? It was 200 years before the Romantics woke up and declared Shakespeare a genius. All we can hope for is that creativity in whatever form excites us, takes us somewhere we haven’t been, surprises us in some way. ‘Only a genius can break the so-called rules’ is another way of saying we need more gatekeeping. This ‘we know the rules’ is nonsense. And even if someone like Laura could for a moment make a good fist of why she subscribes to the genius theory, very few of the ‘genius writers’ she’ll choose will surprise even her all of the time. No book or writer is untouchable. Everybody can be criticized, even Shakespeare. Logically, if anyone follows these or any rules they will become slaves of a market mechanism. Rules for fiction or any other art form only end up filling the pockets of a few promoted sorts. Rules lead one way – to homogenization (though that doesn’t mean you can’t have a little fun with them while you’re doing other more interesting things …go-go genius go).


Pacific Rim Review of Books’ review of ‘Uncorrected Proof’

PUBLISH OR DIE! by Paul Duran

Review of Uncorrected Proof by Louisiana Alba – ElephantEars Press

Paul Duran – L.A. director and writer

from Pacific Rim Review of Books Fall/Winter 2009 Issue 12 – pg. 33


Who is Louisiana Alba and what does she (or he) have against the publishing industry? It’s a rhetorical question since most authors inevitably have some gripe against the media giants they are forced to rely upon to shepherd their creative works to the masses. Yet usually, besides the odd drunken cocktail party diatribe or expletive-laden rant to one’s spouse, authors won’t, or can’t afford to, bite the hand that feeds them. Alba on the other hand has decided to go straight for their throats, going public with the writer’s eternal screech – the bastards have    (add your own word here – ruined, stolen, fucked up, etc.) my book! – then framed it within a literary conceit so audacious and capricious, that to stumble just a little bit is to fall off the mountain completely.

It’s a high wire act that literally co-opts the style of dozens of literary untouchables and pop culture icons from James Joyce to Jimi Hendrix, Anthony Burgess to Andy Warhol, Ernest Hemingway to Quentin Tarantino (there are over a hundred authors and artists listed in the book’s acknowledgements starting with ABBA!). Alba (an obvious nom de plume) uses each successive voice in her vast arsenal to tell the story of Archie Lee, the plagiarized author who schemes to get his novel back from the people who stole it – the celebrity novelist Martyrn Varginas, his greedy publisher Menny Lowes, and his man-eater of an editor, Ellen Spartan.

Using The Iliad as a starting reference point (in a deliberate cracked mirror image to Joyce’s use of The Odyssey in Ulysses), the novel playfully winks at Homer not so much for his epic poem’s style as for its archetypal tale of love, abduction and revenge. The characters all are sly doppelgangers for their Greek counterparts; Archie Lee for Achilles; Ellen Spartan for Helen; Menny Lowes for Menelaus and so on. But the book does not rely solely on post-modern mimicry or clever homage to keep our interest. It more than holds it’s own as a thoroughly enjoyable pulp story about stolen manuscripts and deferred vengeance in the volatile, cutthroat world of publishing. Making publishing a life and death enterprise involving kidnapping, murder and the CIA is a nice conceit that no doubt will give even the crustiest of publishing execs a knowing chuckle.

The novel starts with Archie out to expose his literary theft at the Crocker Prize banquet (read Booker Prize). He gets cold feet when he comes face to face with his nemesis Varginas and Varginas’ attractive editor Ellen. She unexpectedly offers Archie a position at her new imprint when he stammers out that he’s “expert with espionage thrillers.” From there the story follows Archie’s desperate scheme to wreak revenge from inside the publishing mecca using his newfound influence to try to get his original novel into print under the name of an opportunistic young hustler he has hired for the part. Nothing goes according to plan as the novel ricochets from London to Barcelona to the South of France to New York and back; from pulp crime to spy thriller, memoir to meta-fiction, screenplay to redacted text.

It may sound like a daunting task for the narrative to constantly shape-shift from one disparate source to another but the effect is breathtakingly kaleidoscopic and in most cases wholly appropriate (even the few typos in the book seem correct given the title). In truth it would probably take a tenured literature professor with a vast music and DVD collection to decode all the stylistic shifts in Uncorrected Proof but that’s not really the point. Given all the literary byplay and conceptual ambition, the story is still amazingly accessible, so when you are able to pick up on a particular author or style, it just adds to its kicky pleasure.

In the end Uncorrected Proof is also a cautionary tale about ego and ambition run amok in a world where ego and ambition are the only character traits that seem to really matter. With no clear winners or losers it could almost be read as a twisted metaphor for our own troubled times, with the publishing industry standing in for Wall Street and the banks, where the “best and brightest” have had their way for too long and have grown fat on the bones of those crushed under their Gucci loafers and stiletto heels. Perhaps I’m reading too much into Alba’s remarkably varied prose, but the seeds of a revolution are there, if not on the economic front, then maybe just in the publishing house.

Paul Duran’s films include Flesh Suitcase and The Dogwalker.


newcoverimage

For another review by LiteraryMinded please go to:

http://blogs.crikey.com.au/literaryminded/2008/11/07/uncorrected-proof-louisiana-alba/

elephant-ears-8-2

Let’s Bet on Independents

Borders is dead, long live the independents.

When Borders came into the UK and bought up Books etc, what happened? A superb small bookshop chain that knew what it was doing slipped out of sight. We know what BIG can do. It goes bust with a BANG in bad times, well, a dull thud in this case.

Do we get the message? BIG doesn’t work in tough times. So why not support the people who are there for us with books year in and year out.

In my area there’s ONLY one – Stoke Newington Bookshop – owned and run by Jo for the last twenty-two years. She’s seen whole families of readers grow up, took over the floor space when Barclays moved out..remember that? A bit before my time. Jo has weathered rent rises, publisher and writer collapses, buyers and banks coming and going.

It’s a superb shop, one of the best book table layouts I’ve ever seen. If you are a  reader who likes to book-browse without pressure this is the shop for you.

Stoke Newington Bookshop 159 Stoke Newington High Street, London, N16 0NY (near the t-junction with Stoke Newington Church Street)