madame psychosis's show

Jul 16

believermag:

Drawing by Josephine Demme
Fiction Seminar
Ben Marcus
Technologies of Heartbreak 
This seminar will examine how emotion is attempted and transmitted in fiction, the various ways readers are captured and made to care about a story.  Emotional effects—rapture, sympathy, desire, empathy, fascination, grief, repulsion—will be considered as techniques of language, enabled or muted by narrative context, acoustics, phrasing, and our own predispositions.  How can a sentence, a phrase, a paragraph cause us to feel things, and is a high degree of feeling akin to “liking” a book?  What is it to care about a character or the progress of a story, and how was that care installed in us?  What are the various kinds and sequences of sentences that, when placed in a narrative, can produce emotional engagement in a reader, affection or distraction, or is it impossible to isolate our reaction to a book in terms of its language?  The focus will be on some rhetorical strategies novelists and story writers have used to impart feeling, among them: concealment, indirection, revelation, confession, flat affect, irony, hyperbole, repetition, sentimentality, elusiveness, and sincerity.  A tentative book list follows. 
2/4 - Revolutionary Road - Richard Yates
2/11 - Mrs. Bridge - Evan S. Connell
2/18 - Everything That Rises Must Converge - Flannery O’Connor2/25 - A Personal Matter - Kenzabarō Ōe
3/1 - Jernigan - David Gates3/4  - Housekeeping - Marilynne Robinson
3/11 - The Emigrants - W. G. Sebald3/25 -  Winesburg, Ohio - Sherwood Anderson 
4/1 - Blood Meridian - Cormac McCarthy
4/8 - The Fifth Child - Doris Lessing
4/22 - Two Serious Ladies - Jane Bowles
4/29 - The Sheltering Sky - Paul Bowles
5/6 - Correction - Thomas Bernhard
See an interview with Ben Marcus about the syllabus.

believermag:

Drawing by Josephine Demme

Fiction Seminar

Ben Marcus

Technologies of Heartbreak 

This seminar will examine how emotion is attempted and transmitted in fiction, the various ways readers are captured and made to care about a story.  Emotional effects—rapture, sympathy, desire, empathy, fascination, grief, repulsion—will be considered as techniques of language, enabled or muted by narrative context, acoustics, phrasing, and our own predispositions.  How can a sentence, a phrase, a paragraph cause us to feel things, and is a high degree of feeling akin to “liking” a book?  What is it to care about a character or the progress of a story, and how was that care installed in us?  What are the various kinds and sequences of sentences that, when placed in a narrative, can produce emotional engagement in a reader, affection or distraction, or is it impossible to isolate our reaction to a book in terms of its language?  The focus will be on some rhetorical strategies novelists and story writers have used to impart feeling, among them: concealment, indirection, revelation, confession, flat affect, irony, hyperbole, repetition, sentimentality, elusiveness, and sincerity.  A tentative book list follows. 

2/4 - Revolutionary Road - Richard Yates

2/11 - Mrs. Bridge - Evan S. Connell

2/18 - Everything That Rises Must Converge - Flannery O’Connor

2/25 - A Personal Matter - Kenzabarō Ōe

3/1 - Jernigan - David Gates

3/4  - Housekeeping - Marilynne Robinson

3/11 - The Emigrants - W. G. Sebald

3/25 -  Winesburg, Ohio - Sherwood Anderson 

4/1 - Blood Meridian - Cormac McCarthy

4/8 - The Fifth Child - Doris Lessing

4/22 - Two Serious Ladies - Jane Bowles

4/29 - The Sheltering Sky - Paul Bowles

5/6 - Correction - Thomas Bernhard

See an interview with Ben Marcus about the syllabus.

Jun 23

(via Soviet-Era Bootleg Recordings of Banned Western Music Pressed on Discarded X-Ray Plates | Junkculture)

(via Soviet-Era Bootleg Recordings of Banned Western Music Pressed on Discarded X-Ray Plates | Junkculture)

May 07

La libreria di quartiere ha chiuso, in Feltrinelli non ci mettete piede e com’era bello quando i libri erano libri e il rapporto umano?

Oggi ho mandato una mail a contemporaneoindispensabile@gmail.com e lui, in cambio, mi ha mandato un racconto. Bello, illustrato da Gianluca Folì e con la prefazione di Antonio Rezza.

Poi gli ho scritto per dirgli, bravo, mi è piaciuto (ma non gliel’ho detto così) e lui mi ha mandato altri racconti.

Ecco, scrivigli anche tu.

May 05

Le cose cambiano ed Indie Pride incontrano i Perturbazione - Bookstock Village<br /><span class="subtitle">Per dire basta a bullismo e omofobia</span> - Salone Internazionale del Libro di Torino -

Ciao mamma, sono al Salone del Libro di Torino!

(Source: papillonnage, via persodivista)

Apr 28

“E allora, mi viene da dire, non scrivo più perché sono innamorata, e felice, e perché quando si ama d’amore felice viene un po’ da nasconderlo, come in quella poesia che si studia al liceo, quella dei baci di nascosto, perché gli invidiosi non possano contarli.” — Del perché ho cambiato colore « yellow letters

Mar 19

Perché ti vesti sempre di nero

Feb 02

(via SOCKS)

(via SOCKS)

Jan 08

La prigione ha i muri verdi -

(o di quella volta che sono evasa da un ospedale)

Dec 02

[video]

Nov 25

(via Hearts on Fryer: 1942 | Shorpy Historical Photo Archive)

(via Hearts on Fryer: 1942 | Shorpy Historical Photo Archive)

Nov 06

quando ho avuto il tumore non sono morta

quando mi hai lasciata non sono morta


e poi mi domando: che amore è se a un certo punto finisce?

” —

 il tuo segno del cancro

 (perché Abbiamo le prove è una figata, #2)

“Dovremmo tutti imparare a memoria i numeri importanti, anziché appoggiare il dito su nome e aspettare che dalla scatoletta esca la voce: troppo comodo. Un giorno potremmo pentirci di questa pigrizia.” —

La ladra dai mille volti 

(perché Abbiamo le prove è una figata, #1)

 

Oct 29

Prima è necessario limonare -

violettabellocchio:

"A nove anni sapevo tante cose ma non sapevo cosa volesse dire limonare."

Ciao mamma, sono su abbiamo le prove!


Oct 21

How Elliott Smith’s Sad Songs Helped Us Heal – Flavorwire