Tuesday, July 28, 2009

Lunch with Lars von Trier

To add to Tom Kennedy's comments about von Trier's new film "Antichrist", take a look at the Financial Times' interview with the controversial director.

Friday, July 24, 2009

The Fall of the Berlin Wall

The great people at Words without Borders and Open Letter Books have collaborated on a book marking the 20th anniversary of the fall of the Berlin Wall. The Wall in My Head will be published this November but they've launched a great blog in advance of its release. You'll definitely want to take a look.

Sunday, July 19, 2009

A SHOUT FROM COPENHAGEN, THOMAS E. KENNEDY

VON TRIER'S ANTICHRIST

So, after all the hype, the prizes and anti-prizes, and my own squeamish fear of the already infamous auto-clitoridectomy scene, I decide this rainy July Saturday in Copenhagen to go in to the Dagmar to see Lars von Trier’s new film, Antichrist. (The final ‘T’ in the title incorporates the feminist symbol – something I cannot duplicate on my computer.)

The movie opens with a beautifully filmed scene of Willem Dafoe and Charlotte Gainsbourg coupling with great passion to an elegantly impassioned musical background of Handel’s Rinaldo sung by a castrato voice. While man and woman mount toward orgasm, we also see a side story in which their very young son crawls out of his crib, catches a smiling peek of his parents in flagrante delecto, shoves a chair over to a table by an open window. On the table stand three tiny sculptures on whose bases are engraved the words “pain,” “grief,” and “despair.” As the woman is climaxing the little boy is spilling the sculptures onto the floor and standing up on the sill of an open window to watch the gently falling snow while he clutches his teddy bear. The boy falls, or perhaps dives, out the window to crash several floors below in the virgin snow, followed by his teddy bear (in defiance of the laws governing the acceleration of gravity).

The remainder of the film is the story, in four chapters and an epilogue, of the woman’s “atypical grief” and the husband’s insistence on undertaking her therapy (he is a therapist) in their isolated cabin far out in the mountainous countryside which they call “Eden.” He seeks to help her understand that the nature she has become so afraid of is not really dangerous.

Antichrist has been attacked by feminists as anti-feminist and defended by others as being a representation of male rationalism versus female emotivism, of the woman as a “therapy victim” and the man as a rationalistically manipulating therapist, as a representation of Antichrist nature versus the Christian world which at its best is ruled by love and mutual consideration.

Kim Skotte, a film reviewer for Denmark’s Politiken who right from its premiere in Cannes gave the film six out of six stars, describes the woman character as “a heroic figure in a tragic world and perhaps anyway a mirror image of a hero.” He writes, “…it is not films with sweet Christian miracles that rouse debate on Christian values. That is done by tales describing how terrible the world would be without love and trust. Films like Antichrist.”

Skotte asserts that the film takes all of its horror and makes of it “a life-affirming film.”

As strong as the film is, I must confess to find little life-affirming in it other perhaps (and this might be a self-indictment of myself as a rationalist male) than the male character’s attempt, even if ill-advised, to help his wife out of her pain and despair – which is described by Professor Joanna Burke of Birbeck College as “the violence of…rationalism’s heartlessness.” Professor Burke goes on to describe the violence in the film as “rebellious, transgressive and beautiful.” Perhaps in addition to being a heartless male rationalist, I am a wimp, but I saw nothing “beautiful” in Charlotte Gainsbourg’s snipping off “her” clitoris (a rubber facsimile, painstakingly accurate) with a kitchen scissors or thumping her husband/therapist in the groin with a hunk of firewood (ever been kicked in the balls, Ms Burke? It’s not beautiful) or graphically boring a hole in his leg and performing other violence-porn acts upon him. Powerful perhaps, but not beautiful.

Perhaps the point is that the violence of nature depicted in the film – heart-rending and “natural” as it is – is just that, natural, heartless as nature. The dozen or so ticks or chiggers that affix themselves to the Willem Dafoe character’s hand as he sleeps with his arm dangling out the window say it all. They are tiny vampires sucking his blood in a” crime” of opportunity – but no, they are as natural as we are. No, in fact, we are more despicable than those little bloodsuckers – we heartlessly, rationally organize nature for our pleasure and convenience. Our crimes of opportunity are truly crimes and they are enormous. Compared to us, birds of prey are innocents, even when they swoop down on a baby bird fallen from the nest.

That the film opens and closes with a castrato aria from Handel’s Rinaldo seems a tip-off about the theme intended: Rinaldo is an opera about the First Crusade in which Rinaldo, the crusade leader, is taken prisoner by Armida, Queen of Damascus and a powerful enchantress who tries repeatedly to stab his beloved but in the end is defeated and converted to Christianity. It seems hard to deny that this is a film about Christian love and engagement versus evil (as has been said, Christianity is a magnificent philosophy – if only someone would give it a try), a man who seeks to render care to a woman who has become infected with evil via the study of human wickedness (she has been writing a thesis on the torture of “witches”.)

A moment of passion leads a couple to be unmindful of their responsibility toward their baby, resulting in his death. The woman (perhaps because she might actually have seen and ignored the danger to the boy in favor of her pleasure) responds with a debilitating grief. The man believes that he can through reason save her from the anxiety that has developed within her by making her understand that what she fears – nature – is not really dangerous (presumably is not really dangerous to human beings who, arguably, prevail over nature and whose emotional life can lift them beyond the heartless indifference and opportunism of nature).

However, perhaps there is a deeper secret in the woman. Perhaps she understands more deeply that what she fears is dangerous, that human nature – she has become convinced – like all nature is evil. Perhaps her mind has been tipped by its immersion in her study of the evil done to women, and she is now in the grip of her own evil. It later appears that she had been systematically deforming her son’s feet, and she does nothing to save him as he climbs up to the window. Perhaps she has been driven mad by her witness of evil.

She now believes that nature is the church of Satan. The constant sound of the acorns falling on the roof becomes a symbol of nature’s reproduction of itself. She has lost the balance between reason and natural force and chaos reigns in that imbalance; she sees evil in nature and the evil within her is encouraged and increasingly breaks through into violent actions. When her husband discovers what she had done to the boy, she attacks him, brutalizes him, smashes his groin and in a symbolic sense turns his leg into a woman’s womb, “impregnates” it with a grinding wheel that is perhaps a symbol of the millstone nature has forced women to carry, bolts it in place so that it cannot be removed. It is a mockery of reproduction. She is the Antichrist – nature out of balance with itself, unalloyed by reason.

Her madness rages further, and she cuts off the source of pleasure that drives humans to propagate. She has become nature against herself and thus another form of Antichrist, filling the world with wickedness.

Finally, after his resurrection from the fox hole where he hides while she is on her murderous rampage, she tells him that she will kill him when the three beggars arrive. Three animals do arrive (fox, doe and bird) but he manages to remove the millstone from his leg and he kills her.

He wanders the countryside. The three animals watch him tamely as he eats wild berries. Are nature and humanity back in balance? At the end, crowds of faceless women appear from the woods and mass around him. Why? Is this the second coming of Christ who has destroyed the Antichrist? Are they surrounding him to follow him or to destroy him? Why are their faces blurred? Are they coming to him to be given an identity? (Hardly seems possible.) And what an irony is echoed in the castrato aria in view of the fact that it was the Catholic Church that originated this beastly practice of cutting off the testicles of pre-pubic boys to preserve the “purity” of their voices: Is von Trier contradicting his Christian message or just tempering it?

Perhaps someone can answer these questions, but when art prickles with symbols that need interpretation and puzzles that need solving, I feel that I am more closely involved in the realm of the intellect than that of the soul, and I lose interest.

Nevertheless, the movie is a strong experience filmed with startling beauty and acted memorably. It is definitely worth seeing even if you, like I, have to look through your fingers at a bloody scene or two.

Greetings from this ancient kingdom!
Thomas E. Kennedy (www.thomasekennedy.com)

Friday, July 17, 2009

Sozopol Fiction Seminar in Bulgaria

Jeremy Chamberlin has written a great account of his time in Bulgaria at the Sozopol Fiction Seminar (sponsored by the Elizabeth Kostova Foundation) at the Fiction Writers Review. Read it and you'll be eager to apply for a spot next year.

Friday, July 3, 2009

Absinthe Summer Sale


It can't be summer without a good summer sale and some fine reading for your holiday.

Well, Absinthe is here to help you out. Absinthe is offering a summer sale now through August 31st. Purchase any back issue (except sold out issue #3) for only $5 (postage included; $10 outside the United States). This is a great opportunity to complete your Absinthe set. Additionally, until August 31st you can order a LIFETIME subscription to Absinthe for only $100! Yes, you read that correctly ... receive a LIFETIME subscription to Absinthe for only $100 (for international subscribers the lifetime rate is $200).

To learn more or to order visit our web site.

Friday, June 19, 2009

Wednesday, June 17, 2009

Popescu Prize 2009 Submissions

The Popescu Prize is awarded every two years for the best volume of European poetry translated into English. It is administered by the UK’s Poetry Society and sponsored by the Ratiu Family Foundation, established by former Romanian politician Ion Ratiu to promote Romanian culture abroad. It is named after Corneliu Popescu, a young translator from Romanian into English who was killed in an earthquake in March 1977.

86 titles of poetry have been submitted for this year’s prize from all around Europe, from Austria to Wales. Top of the list for translated poetry are France, Italy, Romania, Russia and Spain, but there’s also poetry translated from Basque and Galician (two of the four co-official languages of Spain), from Estonia, Ireland, Luxembourg and Turkey. A rich and enticing list!

Most of the time we complain about how little literature is translated and published in English, but seeing a list of 86 titles of translated poetry published in the last two years makes one feel like celebrating for once what does get published.

This year’s prize is judged by Elaine Feinstein and Stephen Romer and the shortlist will be announced in September.

Friday, June 12, 2009

Filmmaker Margarethe von Trotta takes on Hildegard von Bingen

At the Goethe Institute site there's an interview with the filmmaker Margarethe von Trotta discussing her new film "Vision", based on the life of the nun Hildegard von Bingen.

I don’t always select my subjects in a particularly conscious way - it often happens that I come across a subject or a person from the here and now or from the past and I am suddenly captivated, but it then just peters out or I forget all about it. This is often the case with love – you meet somebody for just a moment and then, when you see them 20 years later, you realise just how fateful the encounter was; only then does it turn into a real relationship. That is how it was with Hildegard von Bingen.

Hopefully we'll get an opportunity to see this film in the U.S.

Saturday, May 30, 2009

Absinthe 11, NYC, Rome and more

It’s been awhile since I’ve posted anything here so this will be a change from my typical strategy of short posts about a specific topic. In fact, I’ll probably ramble on a bit so be prepared.

It has been quite busy here at Absinthe HQ. If you’re not a subscriber then you’re missing out on the great new issue, Absinthe 11, which went out in early May. The cool cover, with devil courtesy of Sanaz Kiesbye, is just the start of a pretty fantastic issue (proclaims the slightly biased editor). See for yourself by reading a few excerpts at the Absinthe web site and, if you like what you see, subscribe there also.

At the end of April Jessica and I were in NYC for a few days and caught the beginning of the PEN World Voices Festival of International Literature. We made it to two events. The first, “Resonances: Writers on the Great Works,” was interesting and we were able to meet Europa Editions authors Muriel Barbery and Salwa Al Neimi and purchase a copy of their recent work--Elegance of the Hedgehog and Proof of the Honey, respectively—and these books are part of the current reading on our bed stands.

Unfortunately, we only managed a much too brief conversation with Michael Reynolds, the editor in chief of Europa, but did enjoy a drink with Annie Janusch, editor of Two Lines, and Edward Gauvin, a fine translator whose work appears in the current issue of Absinthe.

Later, we caught most of the Rattapallax/PEN Literary Film Feast and saw an interesting documentary about Ginsberg and his time in India.

The next morning we made it over to Slag Gallery in Chelsea and were fortunate to meet the founder Irina Protopopescu who is generously working with Absinthe to provide some art for a future issue.

Then it was on to Rome. Yes, Rome. We spent five wonderful (though very busy) days there and completely wore ourselves out. But we had beautiful weather--clear skies and around 70 degrees other than one two-hour thunderstorm--and the city was fantastic. A few highlights: the Galleria Borghese, ancient Rome (perhaps Detroit should take a lesson from Rome and leave some of its ruins alone—Tiger Stadium and the train station, for example—to become tourist attractions in a thousand years), gelato, Caffé Greco, Trastevere, the Daphne Inn, the church of San Clemente, and bringing home a copy of Where the Wild Things Are in Italian. One major lowlight: we were the victims of ATM fraud and lost nearly $1000. It’s a long story. Hopefully our bank will be cooperative. And if I might humbly make three suggestions to improve the Eternal City: 1) more green spaces—a few more parks and trees in the city center would be nice, 2) teach people how to use the metro—when you step on a train please move to the side, don’t just stop at the door, there are people behind you who want to get on too!, 3) reduce the number of cars in the city—it can seem romantic to an American admirer of “Roman Holiday” or “La Dolce Vita” to dodge a vespa on a tiny Roman street, it’s quite another thing when you’re jumping out of the way of a Hummer.

Anyway, regardless of a few negatives, the trip was fantastic. However, it took one editor quite some time to recover, probably due to advancing age.

On a different subject … congratulations to the four recipients of Dalkey Archive’s Applied Translation fellowship program: Rhett Warren McNeil, Ursula Meany Scott, Jamie Richards, and Kerri Pierce. Richards translated a piece by Italian writer Giancarlo Pastore that appeared in Absinthe 6.

Congratulations also to Amanda Love Darragh, awarded the Rossica Prize 2009 for excellence in Russian to English literary translation for her translation of Iramifications by Maria Galina, published by Glas in 2008.

Interested in Nordic literature? Then check out the blog Nordic Voices in Translation: “A blog devoted to the English translation of the literatures of the Nordic countries--Denmark, Finland, Iceland, Norway and Sweden. And also Estonia.”

Ok, I think that’s all for now … nope, one last thing … for those interested in French cinema, and particularly the Nouvelle Vague, I recommend picking up Richard Brody’s massive work on Godard: Everything is Cinema—The Working Life of Jean-Luc Godard. Though I’m only about 100 pages in I don’t want to put it down. In fact, if this post is a bit scattered it’s because I’ve been typing with one hand while holding the Godard book in the other.

So … is anyone still there? …

Tuesday, April 21, 2009

A SHOUT FROM COPENHAGEN, THOMAS E. KENNEDY

EASTER SUNDAY ON THE COAL SQUARE

Today a rare sun of spring, and I set off at noon to hike cross town to the Coal Square. Here I will pass my Easter Sunday in the sunlight, in the company of the new New Yorker, a couple of cigarillos, a pint or two of golden brew, notepad close to hand.

Here I can gaze across to a first floor apartment occupied more than 150 years ago by the father of existentialism Søren Kierkegaard, across from that The White Lamb serving house, shelled by the British in 1807, under orders of the Duke of Wellington, the year it opened. Now, 202 years later, Wellington is dust in his grave and The White Lamb continues to serve golden pints. Sometimes you hear a Duke Ellington CD playing in there – the only Duke now welcome.

There are seven trees and eight outdoor cafés on The Coal Square. I once conducted an exercise which I dubbed “Pint of View” on this very square, its objective being to drink a pint in each of the eight cafés and observe the Square from the eight points of view, the eight pints of view. The point of view is variegated, particularly through the intensifying focus of the increasing tally of pints.

Today, however, I alternate between tipping my face up to the ancient, holy sun, sipping my golden pint, reading a James Wood article in the New Yorker about George Orwell, and observing the human traffic on the Square.

This being Easter Sunday, the café tables are sparsely populated by their usually affluent clientele, and the public benches and pavemwent are largely taken over by the homeless. At my table in the sunlight, I am drinking a seven-dollar pint and smoking a fifty-cent cigarillo. Off center on the square, a few meters from an educational tobacco-preventive sculpture of a huge, twisted-out, filter-tipped cigarette butt, sprawl an encampment of the homeless, drinking fifty-cent cans of strong Easter brew and smoking various substances.

There are five of them, laying or sitting on the cobblestone-bordered cement slabs. The seven trees ranged round the perimeter radiate with a glorious halo of spring green so young it glows yellow in the midday light.

The five are talking loudly in foghorn voices about the hash they would be smoking if only they had a pipe. Two women, three men, and two large mongrel dogs. The dogs sleep on their flanks on the sun-warmed concrete. The spirits of the people seem high. Soon they are joined by two young men whose hair is an unnatural shade of red. They kiss one of the women, greeting her as “Mom.”

Ranks swelled to seven, the conversation grows louder. Scraps of phrase reach me:

“Allo, allo, master! Who you think you are?!”

“Gimme that fuckin’ lighter!”

“Hey, Mom, I got to go into jail soon.”

“Just relax!”

“I’m fallin’ asleep here – who could be more relaxed than that?”

These seven and another group clustered on a public bench nearby never mix with the patrons of the cafés. Only two Inuits I have occasionally seen do that, sneaking up to try to snatch pints of beer from the tables at unguarded moments to steal a slug and giggle mischievously.

Clusters of words fly across the sunny square:

“The dog’s okay. He’s lyin’ on my jacket.”

“There where I used to live…”

“You never lived there!”

In the background, the cathedral bells are tolling, no doubt in honor of the resurrection of the savior of man.

A short, mustached Inuit man in a porkpie hat, obviously well into his cups but spry on his feet, dances happily across the square, trying to sell an unauthorized copy of the homeless newspaper to the occasional passerby. He is indefatigable and relentlessly cheerful and before long has sold the paper for three and a half dollars to a black woman with an enormous Afro, rolling her bike across the square. He bows in formal thanks to her as he pockets the money, then spins and dances lightly across to his bench mates, giggling at his success.

Among the Inuits is a tall muscular young man in a sleeveless T-shirt who hunches around, growling loudly, occasionally attacking the giant cigarette butt which he seems to want to lift over his head and heave away from him, but every time he gets it off the ground he loses interest and drops it, rolling his head, face up to the sun, growling, roaring.

Two of the Inuits are in standard hospital-issue wheelchairs which they sit in and walk with their feet. A woman stands in front of one of them, bowed forward at the waist. They kiss passionately, mouths rotating together, arms around one another’s neck. The kiss continues long enough to make me wish I was kissing somebody. Another Inuit woman sits on her jacket and strums a guitar, singing a happy Greenlandic song.

The conversation in the other group grows increasingly animated:

“Mogens, bring me that bag of beer – no! don’t look into it! Just bring it to me!”

A skinny, wrinkle-faced fellow in a peaked cap announces, “The supreme court has asked me to convey greetings to teach and every one of you on this Easter day!”

“Same to you, buster!”

“Whoa, master! Who telephoned you and invited you to say hello?!”

Off to one side, a large round man rises from a bench. He looks like a prophet in a dirty grey jogging suit, big belly, big face, big head, big bald pate with long grey hair streaming down, a long grey beard. He garbles some words in an impressive booming voice, and a small slender woman in a sleeveless blouse stands up to block him from joining the group on the cement.

“You do not belong here,” she says. “Go. Away!”

He tries to circle around her but she steps to the side to keep her face in his. He stumbles away from the homeless circle, shaking his head, over to my table. He is wearing garden gloves, one of which he drops a foot in front of me, leans on the edge of my table and says, “Gagagaga…” which I interpret to mean he is only leaning there for a moment until he retrieves his glove.

I say, “That’s quite okay,” and he answers, “Très bon!”

Glove in hand, he peers into my face. “I gi’ them half an hour,” he says. “Then they’re blown away.”

I say, “Très bon.”

He says, “Magnifique!” with a satisfied grin and limps away, but glances back and adds, “You got the right to sit there and write if you want!”

I say, “Merci. Très bon. Magnifique!”

He looks happily at me and stumbles over to collapse on a bench, falling immediately asleep.

The thin woman with the dog, whose name I surmise is Mette, shouts out, “Is my dog dead?!”

A café customer at one of the tables yells, “Give it mouth to mouth!” and Mette yells back at him, “Ey, buster! Who called you on the phone?!” Her dog lifts its head where it lays in the sunlight to look at her, and she says, “King! Don’t scare me like that!”

In addition to taking notes, I am reading an article in the New Yorker about George Orwell, which asserts that Orwell could not really tolerate the thought of social mobility.

A woman with henna hair sitting amongst the homeless on the cement calls out in a foghorn voice: “Allo! May I speak?! Allo!”

The homeless people are breaking into factions that shout or call to each other from bench to pavement. One of the young men who called the henna-haired woman mother says something to which a skinny, scraggly-bearded man wearing a peaked cap says, “Pseudo necrophile!”

The henna-haired woman says, “Slow down there, buster! What’re you sayin’?! That means a person who fucks the dead! Look me in the eye and say that about my son!”

“I come from the provinces,” says the scraggly-bearded man. “I don’t look in people’s eyes.
Anyway, I said pseudo-necrophile.”

“You do not call my son a necrophile!”

“I didn’t say that. It’s a joke. And he’s an adult. He should stand up for himself. A man doesn’t need his mother to do that.”

The tall young muscular Inuit looks at them and rolls his thick shoulders. He growls. Then he turns away but looks back again and roars and struts away, nodding with satisfaction.

It occurs to me that this being Easter Sunday, I really ought to work in a metaphor of resurrection and redemption, of sacrifice to atone for the sins of mankind, about the spotless virgin mother of Jesus. But what I am actually thinking about is the incredible amount of energy that these people exhibit.

I ask myself how it can be in this enlightened social-democratic Christian kingdom that there can be so many of our fellow citizens who have no home to live in. How can it be that I sit here drinking seven-dollar pints of beer while they sit and fade away on the pavement? Though they look older, they are young most of them – not more than a couple over fifty, most of them under forty, forty-five tops. Apparently life expectancy among this segment of the population doesn’t extend much beyond that.

Then I remember a black-and-white poster I used to have hanging on the wall of my studio apartment on East Third Street in Manhattan, Alphabet City, back in 1966: the photograph showed a scraggly derelict staggering along the Bowery above the words: WE HAVE ALL COME FROM LOVERS.

All except Jesus, it occurs to me.

Greetings from this ancient kingdom!
Thomas E. Kennedy (www.thomasekennedy.com)