Monday, February 2, 2015

Table of Contents

AUTHORS INCLUDED (alphabetical listing)

Kathy Acker (USA)
"Grandmother to the Brat Pack" (on Acker's Literal Madness and Florida), by Douglas Messerli

James Agee (USA)
"The Silent Stars Go By" (on James Agee's A Death in the Family), by Douglas Messerli
"Invention Serves Remembrance" (on Agee's A Death in the Family: A Restoration of the Author's Text), by Douglas Messerli

César Aira (Argentina)
"The Last Innocent Moment" (on Aira's An Episode in the Live of a Landscape Painter), by Douglas Messerli
"Attending the Dead" (on Aira's Ghosts), by Douglas Messerli
"A Gap in the Wall" (on Aira's How I Became a Nun), by Douglas Messerli
"The Elements of Fiction" (on Aira's The Seamstress and the Wind), by Douglas Messerli

Eliseo Alberto (Cuba/USA)
"Responsible Parties" (on Alberto's Caracol Beach), by Douglas Messerli

Tereza Albues (Brazil/lived USA)
"A Bouquet of Tongues"

João Almino (Brazil)
from The Five Seasons of Love

Jorge Amado (Brazil)
"Julio Jurentio and Ilya Ehrenburg"

Eleanor Antin (USA)
from Conversations with Stalin
"Magnificent Obsessions" (on Antin's An Artist's Life by Eleanora Antinova) by Douglas Messerli
"The Third Act" from An Artist's Life by Eleanora Antinova
Review of Antin's Conversations with Stalin, by J. Hoberman

Reinaldo Arenas (Cuba)
Review of Reinaldo Arenas' The Color of Summer, or, The New Garden of Earthly Delights), by Lee Siegel

Ascher/Straus (USA)
from Hank Forest's Party

John Ashbery and James Schuyler (USA)
"Life in Duluth" (on John Ashbery and his Schuyler's A Nest of Ninnies) by Douglas Messerli

Margaret Atwood (Canada)
Review of Margaret Atwood's The Blind Assassin by Merle Rubin

Paul Auster (USA)
"Beyond" (on Auster's Oracle Night), by Douglas Messerli

Gerbrand Bakker (Netherlands)
"Being Alone" (on Bakker's The Twin), by Douglas Messerli

Russell Banks (USA)
Review of Russell Banks' The Angel on the Roof by Paul Binding
"Something to Be Touched" (on Banks' Lost Memory of Skin) by Douglas Messerli

Djuna Barnes (USA)
"Abandonment, Involvement, and Surrender" (on Djuna Barnes' Ryder), by Douglas Messerli

Dennis Barone (USA)
"Precise Imprecision" (on Barone's Precise Machine), by Douglas Messerli

Frederick Barthleme (USA)
Review of Frederick Barthelme's The Law of Averages: New and Selected Stories by Will Blythe
"A Thing of Chance" (on Barthelme's There Must Be Some Mistake), by Douglas Messerli

Charles Baxter (USA)
Review of Charles Baxter's The Feast of Love by Joseph Clark

Marcel Béalu (France)
"Walls"

Jurek Becker (Germany)
Review of Becker's Die Boxer, by Klaus Phillips

Samuel Beckett (Ireland/France)
"Moving Forward by Standing Still" (on Mercier and Camier), by Douglas Messerli
Beckett reading from his fiction Watt

Mario Benedetti (Uruguay)
"Holding In, Holding On" (on Benedetti's The Truce), by Douglas Messerli

Thomas Bernhard (Austria)
"Falling Trees" (on Woodcutters), by Douglas Messerli

Mohammed El-Bisatie (Egypt)
"The Voice in the Chest" (on El-Bisatie's Clamor of the Lake), by Douglas Messerli

Bjarni Bjarnason (Iceland)
Review of Bjarnason's Borgin bak við orðin, by Kirsten Wolf

Jens Bjørneboe (Norway)
"Between Fire and Ice" (on Bjørneboe's Powderhouse)

Adolfo Bioy Casares (Argentina)
"On Adolfo Bioy Casares" by Suzanne Jill Levine

Juan Bonilla (Spain)
"The Shrew Mice"

Jorge Luis Borges (Argentina)
"Borges Walker Wessells" (Wendy Walker and Henry Wessells in conversation on Borges)

Elizabeth Bowen (England)
"Caught in the Whirl" (on Bowen's Eva Trout) by Douglas Messerli)

Jane Bowles (USA)
"Prophets of the Ordinary"(on Bowles' Two Serious Ladies) by Douglas Messerli

Lee Breuer (USA)
"Porco Morto"
"Barnyard Philosophers" (on Breuer's Pataphysics Penyeach: Summa Dramatica and Porco Morto), by Douglas Messerli

Christine Brooke-Rose (England)
Review of Brooke-Rose's Next, by Brian McHale

Laynie Browe (USA)
from The Ivory Tower

Jeremy P. Busnell (USA)
"Bird Talk"

Olivier Cadiot (France)
"The Perfect Servant" (on Cadiot's Colonel Zoo), by Douglas Messerli

Italo Calvino (Italy)
Bibliography of Fiction
Review of Calvino's The Path to the Spider's Nests by David Ian Paddy

Veza Canetti (Germany)
Review of Veza Canneti's Yellow Street, by Harry Zohn

Finn Carling (Norway)
Review of Finn Carling's Gepardene by Tanya Thresher

Louis-Ferdinand Céline (France)
Archival readings of Louis-FerdinandCéline [link]
Review of Céline's Fable for Another Time, by Brian Evenson

Inger Christensen (Denmark)
"Pictures Resembling Creatures" (on Christensen's Azorno), by Douglas Messerli

Hugo Claus (Belgium/writes in Dutch)
"Rickabone's Fault" (on Claus' Desire and The Swordfish), by Douglas Messerli
"The Scream" (on Claus' Wonder), by Douglas Messerli


Marina Colasanti (b. Eritrea / Brazil (writes in Portuguese)
"The Girl Weaver"

Ivy Compton-Burnett (England)
"The Man Who Would Not Die" (on Compton-Burnett's Manservant and Maidservant) by Douglas Messerli
Short Review of Compton-Burnett's The Present and the Past by Douglas Messerli

Gabrielle Contardi (Italy)
Review of Contardi's Navi di carta, by Francesco Guardiani

Robert Coover (USA)
Review of Robert Coover's Gerald's Party by Geoffrey Green

Julio Cortázar (Argentina)
Review of Julio Cortázar's Final Exam, by Gregory Howard

Domício Coutinho (Brazil/lives USA)
from Duke, the Dog Priest
"To the Dogs" (on Coutinho's Duke, the Dog Priest), by Douglas Messerli

Alexis Curvers (Belgium/writes in French)
Short Review of Alexis Curvers' Tempo di Roma by Douglas Messerli

Guy Davenport (USA)
"Writers from the Diaspora of Truth" (on Davenport's The Jules Verne Steam Balloon, by Douglas Messerli

Lydia Davis (USA)
"The Beginning of the Story" (on a reading by Lydia Davis) by Douglas Messerli

Denyse Delcourt (Canada/writes in French)
Gabrielle of the Spirits (on Delcourt's Gabrielle and the Long Sleep into Mourning), by Douglas Messerli

Miguel Delibes (Spain)
from The Holy Innocents

Don DeLillo (USA)
"Hiding Out" (on DeLillo's The Body Artist), by Douglas Messerli

Nigel Dennis (England)
"Transformations" (on Nigel Dennis' Cards of Identity), by Douglas Messerli
Review of Dennis' Cards of identity, by Jessica Winter

Mohammed Dib (Algeria/France)
"A Quiet Man in the Vast and Chattering Desert" (on several books by Dib), by Douglas Messerli

Isak Dinesen (Denmark)
"Lies in a World of Lies" (on Dinesen's Ehrengard), by Douglas Messerli

Michael Disend (USA)
"Rider of the Jade Horse"

Heimito von Doderer (Austria)
"The Walls Come Tumbling Down" (on von Doderer's Divertimenti and Variations), by Douglas Messerli

Jose Donoso (Chile)
"Bodies That Howl and Insult and Grope" (on Donoso's Hell Has No Limits), by Douglas Messerli

José Maria de Eça de Queirós (Portugal)
"The Dreamer and the Critic" (on Eça de Queirós' Correspondencia de Fradique Mendes) by Douglas Messerli

Jean Echenoz (France)
Review of Jean Echenoz' Big Blonds, by Susan Ireland

Ken Edwards (England)
"Us and Them"

Herbert Eisenreich (Austria)
Review of Eisenreich's Die blaue Disel der Romantik, by Thomas H. Falk

Sam Eisenstein (USA)
Review of Sam Eisenstein's Cosmic Cow and Nudibranchia by Joseph Dewey

Willem Elsschot (Belgium/writes in Dutch)
"Cartoon in the Mirror" (on Elsschot's Will-o'-the-Wisp), by Douglas Messerli

Per Olav Enquist (Sweden)
"The Black Flame: Truth in a World of Lies" (on The Royal Physician's Visit), by Douglas Messerli

Jenny Erpenbeck (b. East Germany/Germany)
"Hunger and Thirst" (on Erpenbeck's The Old Child and Other Stories), by Douglas Messerli
Review of Erpenbeck's Visitation, by Christian House

Brian Evenson (USA)
"The Torn Curtain" (on Evenson's The Open Curtain), by Douglas Messerli

William Faulkner (USA)
"Rereading Faulkner" (on Faulkner's The Sound and the Fury), by Douglas Messerli
"The Dreadful Hollow" (on Faulkner's As I Lay Dying), by Douglas Messerli

Raymond Federman (b. France/USA)
"Reflections on Ways to Improve Death"
Review of Federman's Take It or Leave It and The Twofold Vibration by Matthew Roberson
Returning to the Closet (on Federman's Smiles on Washington Square and The Twofold Vibration), by Douglas Messerli

Ronald Firbank (England)
"Firbank as Poet" (on Firbank's Valmouth), by Douglas Messerli

Daniela Fischerová (Czech Republic)
"The Emperor Is an Emperor Is an Emperor" (on Fischerová Fingers Pointing Somewhere Else), by Douglas Messerli

Thomas Frick (USA)
Review of The Iron Boys by Douglas Messerli

Jean Frémon (France)
from The Botanical Garden
Fremon's Island of the Dead

Serge Gainsbourg (France)
Review of Gainsbourg's Evguénie Sokolov, by Perry Friedman

Gao Xingjian (China)
Review of Gao's Soul Mountain by Jonathan Levi

Liliane Giraudon (France)
Review of Liliane Giraudon's Fur by Carolyn Kuebler

Witold Gombrowicz (Poland)
"The Serving Class" (on Gombrowicz's Ferdydurke, Bacacay, and Cosmos), by Douglas Messerli 

Jaimy Gordon (USA)
"Horse Sense" (on Gordon's Lord of Misrule) by Douglas Messerli

Juan Goytisolo (b. Spain/lives Morocco)
"Truth-telling in a World of Lies" (on Goytisolo's The Garden of Secrets), by Douglas Messerli

Julien Gracq (France)
Review of Julien Gracq's La forme d'une ville by John Taylor
"The Intrusion" (on Gracq's The Castle of Argol) by Douglas Messerli
"Circling Forward" (on Gracq's The Peninsula) by Douglas Messerli

"How Things Are" (on Gracq's King Cophetua), by Douglas Messerli

Günter Grass (Germany)
Review of Günter Grass' Two Far Afield by Thomas McGonigle

Henry Green (England)
"So and So" (on Green's Party Going), by Douglas Messerli

Mohsin Hamid (Pakistan)
Review of Mohsin Hamid's Moth Smoke by Umber Khairi

Knut Hamsun (Norway)
"Testing His Creations" (on Hamsun's The Women at the Pump), by Douglas Messerli

Jeff Harrison (USA)
"Two Tales"

Marianne Hauser (b. Germany[Alsace]/USA)
"A War Against Death" (on the works of Marianne Hauser), by Douglas Messerli
[works discussed include Dark Dominion, The Choir Invisible, Prince Ishmael, A Lesson in Music, The Talking Room, The Memoirs of the Late Mr. Ashley, Me & My Mom, Shootout with Father, and The Collected Short Fiction]

John Hawkes (USA)
"Life Force" (on Hawkes' The Beetle Leg), by Douglas Messerli

Franz Hellens (Belgium/writes in French)
"Leaving Elsinore" (on Hellens' Memoirs of Elsinore), by Douglas Messerli

Gustaw Herling (Poland)
"Against Common Sense" (on Herling's The Noonday Cemetery), by Douglas Messerli

Sigurd Hoel (Norway)
"The Idiot"

Yoel Hoffmann (b. Romania / Israel)
Review of Yoel Hoffmann's Bernhard, by Allen Hibbard
"The Thing Itself and Not" (on Hoffmann's The Heart Is Katmandu), by Douglas Messerli
Review of Hoffmann's The Shunra and the Schmetterling, by Leslie Cohen

Spencer Holst (USA)
Review of Holst's Brilliant Sentences by Karen Donovan

Alois Hotschnig (Austria)
"Not at Home" (on Alois Hotschnig's Die Kinder beruhigte das nicht), by Douglas Messerli

Roy Jacobsen (Norway)
"The New Window"

Arthur Japin (Netherlands)
Review of Japin's The Two Hearts of Kwasi Boachi by Michael Pye

James Joyce (Ireland)
Joyce reading from Finnegans Wake

Ismail Kadare (Albania)
Review of Kadare's Elegy for Kosovo by Maria Margaronis
Review of Kadaré's Clair de lune by Robert Elsie

Richard Kalich (USA)
Review of Kalich's Penthouse F by Christopher Leise

Daniel Kehlmann (Germany)
"The Last Innocent Moment" (on Kehlmann's Measuring the World) by Douglas Messerli

Danill Kharms (USSR)
"The King, the Outlaw, and the Blacksmith" 
"First of All and Second of All"

Karl O. Knausgaard (Norway)
"Extinguishing the Fire" (on Knausgaard's A Time for Everything), by Douglas Messerli

Tadeusz Konwicki (Poland)
Review of Konwicki's Bohin Manor, by Brooke K. Horvath

 Dezső Kosztolányi (Hungary)
"The Writer's Other Self" (on Kosztolányi's Kornél Esti) by Douglas Messerli

Laszlo Krasnahorkai (Hungary)
"The Frightened Rabbit Flattens Against the Grass" (on Krasnahorkai's The Melancholy of Resistance), by Douglas Messerli
"To Begin Is to Never End" (on Krasnahorkai's War & War), by Douglas Messerli

Sigizmund Krzhizhanovsky (USSR)
"Forgetting to Notice" (on Krzhizhanovsky's Memories of the Future), by Douglas Messerli

Milan Kundera (Czech Republic)
Review of Milan Kundera's The Farewell Waltz by Paul Maliszewski

Tom La Farge (USA)
"On The noulipian Analects"
"Language Writhing Machines" (on La Farge's 13 Writhing Machines, vols. 1 and 2), by
Douglas Messerli

"Sir Echo" (on La Farge's 13 Writhing Machines, vol. 3), by Douglas Messerli
Anne Gédéon Lafitte, Marqius de Pelleport (France)
"Writer's Nose" (on Lafitte's The Bohemians)
Carment Laforet (Spain)
"Nothing Left Behind" (on Laforet's Nada), by Douglas Messerli
Halldór Laxness (Iceland)
"The Voice of a Country" (on Laxness' The Fish Can Sing), by Douglas Messerli

Stansław Lem (Poland)
Review of Lem's The Investigation, by Tom J. Lewis

Alexander Lernet-Holenia (Austria)
Commentary on Lernet-Holenia's Beide Sizilien, by Robert von Dassanowsky

Stacey Levine (USA)
"The Water"
"Frictions of Desperate Serverity" (on Levine's The Girl with Brown Fur), by Douglas Messerli

Wyndham Lewis (England)
"Murdering to Create" (on Lewis' The Roaring Queen), by Douglas Messerli
José Lezama Lima (Cuba)
Review of José Lezama Lima's Paradiso by David Auerbach

Jonas Lie (Norway)
"How to Destroy Your Children" (On Lie's Niobe), by Douglas Messerli

Eugene Lim (USA)
from Strange Twins

Osman Lins (Brazil)
"Pastoral"
Osman Lin's book Nine, Novena

Øystein Lønn (Norway)
"The Calf in the Sea"

Maria Machado de Assis (Portugal)
"To the Dogs" (on Machado de Assis' Philosopher or Dog?), by Douglas Messerli
Colin MacInnes (England)
Review of  The London Novels by Douglas Messerli [link]

Amin Maalouf (Lebanon)
Review of Amin Maalouf's The Gardens of Light by Jamal En-nehas
John Henry Mckay (b. Scotland / Germany)
"Forbidden Love" (on Mckay's The Hustler)

Thomas Mann (Germany)
"The Will to Happiness"

Javier Marías (Spain)
"Coincidence and Contradiction" (on Javier Marias' When I Was Mortal) by Douglas
Messerli
"The Time That Has Yet to Exist" (on Javier Marias' Dark Back of Time) by Douglas
Messerli

F. T. Marinetti (Italy)
"Metaphorphosis" (on Marinetti's The Untameables), by Douglas Messerli

Carmen Martín Gaite (Spain)
Review of Martín Gaite's Behind the Curtains, by Brooke K. Horvath

Xavier de Maistre (France)
"Parenthetical Digression"

Harry Mathews (USA/lives France)
"Our Wonderful Lives" (on Mathews' My Life in CIA and The Journalist, by Douglas Messerli

David Matlin (USA)
"Moths Will Suck First"

Friederike Mayröcker (Austria)
Review of Friederike Mayröcker's Fast ein Frühling des Markus by M. Goth
Review of Mayröcker's Brütt oder Die seufzenden Gärten, by Susan Cocalis

Cormac McCarthy (USA)
Review of McCarthy's Cities of the Plain by Brian Evenson
"The Ultimate Road Trip" (on Cormac McCarthy's The Road), by Douglas Messerli

Douglas Messerli (USA)
Introductory Statement
from Twelve Tyrants Between Acts: Eighty Tiny Tales

Ivo Michiels (Belgium)
"The Cry" (on Michiels' Book Alpha and Orchis Militaris)
Ivo Michiels Book Alfa and Orchis Militaris, Vol. 1 of The Alpha Cycle $5.00

Christopher Middleton (England/lives USA)
"The Weathervane Oiler"
Christopher Middleton's book and ON NET editon of Deptictions of Blaff

"The Dissipating Poem" (on Middleton's Loose Cannons: Selected Prose) by Douglas Messerli
Mo Yan (China)
Review of Mo Yan's The Republic of Wine by Jeffrey C. Kinkley

Félix Morisseau-Leroy (Haiti/writes in Creole)
"Eminans, a story for singing"

Kajii Motojirō (Japan)
"Underneath the Cherry Trees"

Harry Mulisch (Netherlands)
"Voices from the Dead" (on Mulisch's Siegfried), by Douglas Messerli

Murakami Haruki (Japan)
Review of Murakami Haruki's Norwegian Wood by Kim Hjelmgaard
"The Lone Wolf" by Ben Naperstek

Péter Nádas (Hungary)
Review of Nádas' A Book of Memories, by Irving Malin

Martin Nakell (USA)
"Five Works from Stories from the City Beneath the City"
"Everything But Life Itself" (on Nakell's Settlement), by Douglas Messerli

Richard Bruce Nugent (USA)
"Between Heaven and Hell" (on Nugent's Gentleman Jigger), by Douglas Messerli

Joyce Carol Oates (USA)
Review of Joyce Carol Oates' Blonde by Mary Gaitskill

Flannery O'Connor (USA)
"Strange Bird" (on Brad Gooch's Flannery: A Life of Flannery O'Connor and
O'Connor's fictions), by Douglas Messerli


Oë Kenzaburo (Japan)
Community of Thought (on Oë Kenzaburo's A Personal Matter), by Douglas Messerli

Toby Olson (USA)
"Possibilities of Coincidence" (on Olson's Write Letter to Billy and Dorrit in Lesbos), by Douglas Messerli
"Lockup""The Poetics of In and Out" (on Olson's The Bitter Half), by Douglas Messerli
"Talking to the Dead" (on Olson's Tampico), by Douglas Messerli

Orhan Pamuk (Turkey)
"The Smell of Death" (on Pamuk's My Name Is Red), by Douglas Messerli

Viktor Pelevin (USSR/Russia)
Review of Pelevin's Buddha's Little Finger by Keith Gessen

Benjamin Péret (France)
"The Four Elements"

Christina Peri Rossi (Uruguay)
"The Calvacade"

Fernando Pessoa (Portugal)
Review of Pessoa's The Book of Disquiet, by Phillip Landon

Dennis Phillips (USA)
from Hope

Antonio José Ponte (Cuba)
"Leaving the Door Open" on Antonio José Ponte's In the Cold of the Malecón and Other Stories), by Douglas Messerli

Jacques Poulin (Canada/writes in French)
"Transport of Love" (on Poulin's Translation Is a Love Affair), by Douglas Messerli

Anthony Powell (England)
"International Relationships" (on Powell's Venusberg) by Douglas Messerli

Richard Powers (USA)
Review of Richard Powers' Plowing the Dark by Charles B. Harris

Reynolds Price (USA)
"An Attack of the Heart" (on Price's The Tongues of Angels), by Douglas Messerli

José Manuel Prieto Gonzalez (Cuba)
Review of Prieto Gonzalez' Nocturnal Butterflies of the Russian Empire, by Nicholas Birns

Soledad Puértolas (Spain)
Review of Puértolas' Bordeaux, by Kay Pritchett

James Purdy (USA)
Review of James Purdy's Gertrude of Stony Island Avenue by Brian Evenson

Marie Redonnet (France)
"Ist and Irt"

Ishmael Reed (USA)
Brief Commentary on Ishmael Reed's The Free-Lance Pallbearers by Elizabeth MacKienan
Brief Commentary and Selections on and from Reed's Mumbo Jumbo by Dennis Cooper
Review of Reed's Cab Calloway Stands in for the Moon by Michael Boccia


Kathrin Röggla (Austria)
"Attic"

Peter Rosei (Austria)
"The Blur" (on Rosei's Metropolis Vienna), by Douglas Messerli
Gerhard Roth (Austria)
"Two Fragmentary Fictions" (on Roth's The Will to Sickness) by Douglas Messerli

Joseph Roth (Austria)
"Secret Lives" (on Collected Shorter Fiction of Joseph Roth), by Douglas Messerli
"Pomp and Circumstance" (on The Radetzky March), by Douglas Messerli

Philip Roth (USA)
Review of Philip Roth's The Human Stain by Igor Webb

Helga Ruebsamen (Netherlands)
Review of Helga Ruebsamen's The Song and the Truth by Claire Messud

Aksel Sandemose (Norway)
"The Melancholiacs and the Missing Bucket" (on Sandemose's The Werewolf), by Douglas Messerli

José Saramago (Portugal)
Bibliography of Fictions
Review of Saramago's Blindness, by Philip Landon
"A Vision of Uncertainty" (on Saramago's The Cave), by Douglas Messerli
Review of Saramago's The History of the Siege of Lisbon, by Mary Sarko
Review of Saramago's All the Names by Richard Eder
"Trying to Pass" (on Saramago's The Elephant's Journey), by Douglas Messerli

Alberto Savinio (Italy)
"Attila"

Hans Scherfig (Denmark)
Review of Scherfig's Stolen Spring, by Brooke K. Horvath

Cathleen Schine (USA)
"Doggone" (on Schine's The New Yorkers), by Douglas Messerli

Ingo Schulze (b. DDR/Germany)
Review of Ingo Schulze's Simple Stories by Peter Rollberg

W. C. Sebald (Germany/lived England)
Review of W. G. Sebald's Vertigo by Joyce Hackett
"At Odds" (on Sebald's Vertigo), by Douglas Messerli

Ana Maria Shua (Argentina)
"Four Microfictions"
Eva Sjödin (Sweden)
"Two Fragmentary Fictions" (on Sjödin's Inner China) by Douglas Messerli

Josef Skvorecky (Czechloslavakia / now Czech Republic)
Review of Skvonecky's The End of Lieutenant Bouvksa, by Brooke Horvath

Gilbert Sorrentino (USA)
"Writers from the Diaspora of Truth" (on Sorrentino's Rose Theatre), by Douglas Messerli
"The Novel Against Itself" (on Sorrentino's Aberration of Starlight and Mulligan Stew), by Douglas Messerli
"Seeing Red" (on Sorrentino's Red the Fiend), by Douglas Messerli
"Runaway Moon, or The Duchess of Flight" (on Sorrentino's The Moon in Its Flight), by Douglas Messerli

Saša Stanišić (b. Bosnia-Herzegovina/Germany)
"When You Can't Cut Fog" (on Stanišić How the Soldier Repairs the Gramaphone) by Douglas Messerli

Gertrude Stein (USA)
"Thirteen Ways of Looking at a Stone" (on Janet Malcolm's Two Lives: Gertrude and Alice), by Douglas Messerli
"Distribution and Equilibration in Stein's Three Lives" by Douglas Messerli
"A Fiction Requiring History and Faith" (on Stein's Mrs. Reynolds) by Douglas Messerli
"Not Real but Really There" (on Stein's Paris France) by Douglas Messerli
"O Brave New World (on Stein's Brewsie and Willie) by Douglas Messerli
"Tender Buttons as Narrative Fiction" by Douglas Messerli
"A Time Gone Mad" (on Stein's Wars I Have Seen) by Douglas Messerli
"Out of Order" (on Stein's The Autobiography of Alice B. Toklas), by Douglas Messerli

Robert Steiner (USA)
Review of Steiner's Bathers, by Jack Charters

Panos Spiliotopoulos (Greece)
"The Castaway"

August Strindberg (Sweden)
"Selling Out" (on Strindberg's The Red Room), by Douglas Messerli

Antonio Tabucchi (Italy)
Review of Antonio Tabucchi's The Missing Head of Damasceno Monteiro by Thomas Hove

Inagaki Taruho (Japan)
from One Thousand One-Second Stories

Nivaria Tejera (b. Cuba/Canary Islands)
"Looking Down" (on Tejera's The Ravine), by Douglas Messerli

Jáchym Topol (Czech Republic)
Review of Jáchym Topol's City Sister Silver by Jaroslaw Anders

Esther Tusquets (Spain)
Review of Tusquets' Never to Return, by Brian Evenson

Jane Unrue (USA)
"A New Way of Seeing" (on Unrue's The House)

John Updike (USA)
"Before the Curtain Rises" (on Updike's Gertrude and Claudius), by Douglas Messerli

Urmuz (Romania)
"Ismail and Turnavitu"
"Algazy and Grummer"


Miklós Vámos (Hungary)
"Fallen Stars" (on Vámos' The Book of the Fathers), by Douglas Messerli

 Luis Fernando Verissimo (Brazil)
"Easting Oneself to Death" (on Verissimo's The Club of Angels) by Douglas Messerli

William T. Vollmann (USA)
Review of Vollmann's Butterfly Stories, by Steven Moore

Antoine Volodine (France)
Review of Volodine's Naming the Jungle, by Jack Byrne

Wendy Walker (USA)
from The City under the Bed
"Sexual Stealing" (on the Gothic Novel)
"Borges Walker Wessells" (Wendy Walker and Henry Wessells in coversation of Jorge Luis
Borges)
"The Forgotten Dream" (on Walker's The Secret Service), by Douglas Messerli

"Burning Blue" (on Walker's Blue Fire), by Douglas Messerli

Robert Walser (Switzerland)
Review of Robert Walser's The Robber by Stephen Clair
Mac Wellman (USA)
from Linda Perdido

Eudora Welty (USA)
"Conversations with Nature" (on Welty's The Optimist's Daughter), by Douglas Messerli
"A Solid Wall of Too Much Love " (on Welty's Delta Wedding), by Douglas Messerli
"The Encounter between History and Myth in Welty's The Golden Apples," by Douglas Messerli
"A Battle with Both Sides Using the Same Tactics" (on Welty's Losing Battles), by Douglas Messerli
"When Language Doesn't Mean" (on Welty's The Ponder Heart) by Douglas Messerli

Nathanael West (USA)
"Looking for Love" (on West's Miss Lonelyhearts), by Douglas Messerli

Dallas Wiebe (USA)
Brief Commentary on Dallas Wiebe's Going to the Mountains by Elizabeth MacKiernan

Oscar Wilde (USA)
"The Hidden Self" (on Wilde's The Picture of Dorian Gray), by Douglas Messerli

Virginia Woolf (England)
Woolf's recorded voice

Unica Zürn (Germany)
"A Real Doll" (on Unica Zürn's Dark Spring), by Douglas Messerli

Douglas Messerli | "Magnificent Obsessions" (on Eleanor Antin's An Artist's Life by Eleanora Antinova)


magnificent obsessions

by Douglas Messerli


Eleanor Antin An Artist’s Life by Eleanora Antinova (read in manuscript)



At least since the early 1970s, when she first appeared as the King of Solana Beach, artist Eleanor Antin has involved herself with creating various personae whose lives she inhabits through numerous artistic mediums—performance, photography, painting, sculpture, mail art, video, film, fiction, drama, and various other ancillary forms that exist in the interstices of these larger categories. There are many artists who have developed similar pseudonymous realities. One thinks, immediately, for example, of Barry Humphries, who, as a popular performance artist, has spent decades in creating and inhabiting a larger-than-life suburban Melbourne wit and would-be world-class star, Dame Edna, whose most recent—and perhaps last—American tour was reviewed in today’s Los Angeles Times. Lily Tomlin spent her early years as a performer creating immediately recognizable and popular cartoon-like figures such as the eagerly naughty, all-too-honest Edith Ann, The Tasteful Lady, and her persnickety Telephone Operator, Ernestine.

      Few, however, have attempted to explore such generalized “types”—in Antin’s case, the King, the Nurse, the Stewardess, and, most notably, the Ballerina—in the depths which Antin manifests variations of these typologies. The Nurse, for example, might appear as a Florence Nightingale-like figure in her photographic reenactments of the Crimean War in The Angel of Mercy: My Tour of Duty in the Crimea of 1977; or in a performance such The Angel of Mercy in which in the drama of 1977 and a later video of that performance (1981), Antin played out situations of her life as a nurse; or even as a hijacked modern-day nurse in a child-like encounter with created cardboard figures and sets in The Nurse and the Hijackers (1977), intersecting with her Stewardess’ world.

     The Ballerina, the most complex of all of Antin’s personae, was not only represented in films and videos such as The Ballerina and the Bum (1974) and The Little Match Girl Ballet (1975);  in photographs such as Caught in the Act: Backstage Moments—Torn Ribbon; and—particularly encapsulated within the figure of Eleanor Antinova—in grand performances such as Before the Revolution (1979, performed live with actors in 2012) and Help! I’m In Seattle (1986) (works collected in book form as Eleanora Antinova Plays [1994]*), but in numerous writings such as Recollections of My Life with Diaghilev (published in journals and chapbook) and Being Antinova, a recounting of her experiences as an artist portraying an aged Eleanora Antinova discussing her life in New York. Along with her Antinova works, the artist has also created a rather large body of drawings, paintings, photographs, costumes, sets, and sculptures to accompany her performances and publications. So labyrinthine is her fiction surrounding Antinova that, at times, the Black ballerina encounters other Antin personas, such as the forgotten Russian-Yiddish film director, Antinov (one of whose two film-scripts has also been published**) and other ancillary characters. So complex are the various artistic manifestations of Antinova alone that, even if one were to ignore all the other fictional characters and other kinds of art she was created during these years, it seems hard to believe that it left Antin, the human being, any time to exist in her own life. Yet, of course, I knew her through all these years as a funny, very real and involved human being, raising a family, teaching, and enjoying intense friendships—to say nothing of being wife to one of the major poets and critics of the United States.
     It is this complete immersion in her characters’ lives, particularly with regard to the Ballerina, that differentiates Antin’s personae from other artists’ performance art. There is almost a kind of madness in the intensity of exploring all avenues of possible creative actions in which her fictional figure might have engaged, and her need to document these becomes something close to obsession—one is tempted, in melodramatic empathy, to describe it as a “magnificent obsession.”

     Throughout her art, but particularly with regard to her Ballerina, Antin has sought to establish her (both her creations’ and her own) “credibility”—to insist that her audience give “credit” to her fantasies.*** But, if one thinks about it, from a larger perspective, which Antin’s art nearly always demands, we can see this as not just a personal issue, as arising from a need for the artist to be accepted for her fantastical creations, but rather as a search for art, in general, to  have meaning upon and to transform life. Eleanor Antin’s entire oeuvre, in fact, insists that art is as important as any other activity in having a practical and very real impact upon our lives. And strangely, as her boots (represented in her famed postcard fictions 100 Boots [1971-73]) have gone marching through galleries and museums throughout the world, and her various ballerinas have danced their way to the hearts of hundreds of museum-goers and readers, Antin’s art has indeed proven her argument. The artist’s creations have grown in proportion to her exploration of them; just as she has meticulously created and related their life-long activities, so have they, in turn, become more and more real to U.S. and international audiences.
      As we know, however, all things have a limited existence, and it is clear, just as Antin has long ago abandoned her presentations of the King, the Nurse, and the Stewardess, that perhaps the day would come to bring her beautiful Ballerina’s life to a close. Fortunately, Antin has determined to announce this sad event by publishing one last volume of Antinova’s memoirs, An Artist’s Life by Eleanora Antinova.

      This time around, taking on a trope common in 18th and 19th century autobiographical fictions (one thinks of Poe, Melville, even the 20th century Stein), Antin describes the work before us as having been left behind in a restaurant—where, as a young student, Antin worked—by the elderly, little known Antinova—a red leather notebook, later carried by Antin and husband David to Solana Beach and their house near San Diego. At first, the book seemed “unreadable.” Like a character in the Hollywood film, The Bishop’s Wife—wherein an elderly scholar who cannot make sense of the passages on which he is supposed to be commenting until an angel blesses him with a sudden insight—so too does Antin suddenly find herself able to read “that tiny flourishing hand” with great pleasure, and so, joyfully passes it on to us as the final expression of the failed artist (although we all know, those of us attentive to Antin’s career, that she has succeeded nonetheless).     
    Some of these works have appeared in journals over the years, at least as early as 1978-1980 in Howard Fox’s and my journal Sun & Moon: A Journal of Literature & Art; but most of chapters appear as new revelations, written (or perhaps, to maintain the fiction, I should say “reproduced”) more recently by Antin.

      All of these pieces represent Antinova living out a life, as a somewhat begrudged member of Diaghilev’s unforgettable Ballets Russes, with a sense of great wonderment and excitement, along with the suffering and tortures that all romantically-conceived artists must endure. In chapter after chapter we encounter the backroom intrigues of company members who live in near starvation, feeding upon petty jealousies, envy, argumentation, and even rage, alternating with intense pleasures, particularly when they encounter wealthy men who might pay for their meals at Cocteau’s Le Boeuf sur le Toit or lovers who buy them furs and jewels or, as in Antinova’s always somewhat comically sad lot, provide the entire company with factory-made sweaters.

      Nearly all of these somewhat shadowy figures have great moments onstage or backstage, including Eleanora, particularly when she is chosen to dance a lead role (again after a rather comical series of events when the dancer Sergei Pavlovitch first choses falls into a faint, “her head on the barre” knocking her unconscious”). Eleanora even travels, when the White Russians of the company cannot (since it is now the Soviet Union) to Russia, in preparation for which each of the Russian members send trinkets, communications, and gifts to friends they left behind. There the Ballerina encounters numerous “spies,” including her own personal “protective” friend and the now-forgotten Russian filmmaker Antinov, who asks her to perform in one of his movies.

     Returning to France and England, Antinova is finally awarded an opportunity to choreograph a new work, performing in the disastrously conceived Pocahontas—inexplicably performed in an English tavern—images of which Antin had previously provided in her documentary photographs.
     But, in the end, we all know the story, so tragically recalled in Antinova’s previous performance, Help! I’m in Seattle, wherein Antiova’s balletic career ends in the seedy backstreets and small towns where Vaudeville and carney-like venues continued to exist long after they had disappeared from the larger cities. In the end, tragically, the metaphorical ups-and-downs of artistic life are transformed into a nightmarish dream of the rise and fall of a hotel elevator wherein Antinova loses her way, somehow getting off on a floor that no longer contains any remnants of the present or living beings, a kind of “third act” exit in which, alas, no flowers fall after the curtain drops—except perhaps in memory.
     If An Artist’s Life at times reads a bit like a “fractured” fairy-tale, we recognize that it is inevitable for the character that has embodied it. If the real living artist has finally received her long deserved due for having created Antinova and the other embodiments of her art, the character is necessarily a figure in deflatus, something which ultimately, like the backdrops and tattered curtains, both authors and actors must leave behind after taking their bows. 
    I cried a few tears over Antin’s often witty, light-hearted and eventually sorrowful tales, and I’ll miss Eleanora, while looking forward, nonetheless, to other developments in Antin’s future work. Yet I know, even as Antin leaves the stage, her impishly determined little Ballerina might, when no one’s even looking, get up to do another quick pirouette en pointe, a little unsteady and shaking perhaps, but still standing as high as she might, maybe even shedding a tear behind a coy smile. If there’s anything Antin has proven is that, even if “art is not kind to her children,” they cannot be so easily killed off, for they live in the imaginations of all who encountered and embraced them. We want to believe, and Antin has ably given us, over all these years, something to believe in.

Los Angeles, January 30, 2015
Reprinted from Art Là-bas (February 2015).

*Eleanora Antinvova Plays was published by my own Sun & Moon Press.

** My Green Integer Press published Yevgeny Antinov’s The Man Without a World in 2002

***See my essay on the performance of Antinova’s Before the Revolution, “On Credit” in My Year 2012: Center’s Collapse. See also my writings about Antin, “Experiment and Traditional Forms in Contemporary Literature,” My Year 2000: Leaving Something Behind and “Reclaiming the Past,” in My Year 2008: In the Gap.