- When you’re not reading Nabokov’s lectures on literature, head over to MIT’s OpenCourseWare project: free access to MIT course materials. An unbelievable resource.
- Ever wondered why the New Yorker continues to print John Updike stories that are so long and suck so bad? Well, they have first-reading rights with him. (As they do with many authors.) Anything he writes, they get to look at first. Not to mention you get paid $1 a word for a short story at the New Yorker. (Like I always say, never trust a writer who gets paid by the word.) Listen and weep.
- Here’s Edward Tufte on cartooning.
- Virginia Tufte’s Artful Sentences “presents and comments on more than 1000 excellent sentences.”
- These new Penguin Classics Deluxe Editions are fantastic.
- Fantagraphics releases I’m looking forward to: 1, 2, and 3.
- Here’s Alan Moore on the BBC, talking about the advantages of having lived in one town all your life. More of Moore on YouTube.
- And finally: the Village Voice voted Gil Mantera best show of SXSW. Youngstown, Ohio where there are two things—Gil Mantera’s Party Dream and the mafia.
LAUGHING WITH KAFKA
“For me, a signal frustration in trying to read Kafka with college students is that it is next to impossible to get them to see that Kafka is funny…Nor to appreciate the way funniness is bound up with the extraordinary power of his stories. Because, of course, great short stories and great jokes have a lot in common. Both depend on what communication -theorists sometimes call “exformation,” which is a certain quantity of vital information removed from but evoked by a communication in such a way as to cause a kind of explosion of associative connections within the recipient. This is probably why the effect of both short stories and jokes often feels sudden and percussive, like the venting of a long-stuck valve. It’s not for nothing that Kafka spoke of literature as “a hatchet with which we chop at the frozen seas inside us.” Nor is it an accident that the technical achievement of great short stories is often called “compression” — for both the pressure and the release are already inside the reader. What Kafka seems able to do better than just about anyone else is to orchestrate the pressure’s increase in such a way that it becomes intolerable at the precise instant it is released.”
– David Foster Wallace, “Laughing With Kafka,” HARPER’S July 1998
KAFKA AT HIS DESK
“Poseidon sat at his desk, going over the accounts.”
So here’s Kafka at his desk. At the insurance company. All he wants to do is go home and get to Work, but instead, he’s got to be at the office, doing work. The problem is: he’s competent. This was supposed to be a “temporary” sort of gig, but they’ve promoted him twice in the last six months. They’ve got him writing memos. They’ve got him writing articles. Annual Reports. Lectures. Evaluations. The work piles up. Everybody loves him. “That Kafka,” they say, “he sure can write a memo!” He’s in his twenties. It’s a respectable job. His father brags to friends. He enjoys the bread, but the work means nothing to him. He dashes off e-mails to his girlfriend: “The office is a horror!” He only wants to Work, but he must work. So he writes in secret. He writes a story about a god who can’t be a God because he’s too busy doing godly paperwork. He writes a story about a faster who’s pretty much out of a job, because nobody sits around and watches fasters anymore–they have cable and internet. He writes a story about a guy who hates work so much that he transforms himself into a giant cockroach. (Think of the sick pay!) Then one day, with the Microsoft Word cursor blinking at him, his fingers hovering over the Minimize Shortcut [WINDOWS key + M], his nerves shot from looking out over his shoulder for snoopy co-workers passing the cubicle, Kafka has a revelation. “Screw it,” he says. “I’m going to go get my MFA.”
*sketch from Kafka’s notebook