Irreducible Form

My interview with Simon Critchley appeared in 3:AM Magazine today:

Simon Critchley

“On the one hand, literature is a conceptual machine that comprehends all that is, digests it and shits it out. That transforms matter into form. On the other hand, there is a kind of writing — poetry usually (Ponge, Stevens, late Hölderlin) — that attempts to let matter be matter witout controlling or comprehending it. I am more sympathetic to the second slope, but the attempt to let matter be matter without form is also an unachievable fantasy. We can say with Stevens, we don’t need ideas about the thing, but the thing itself. But we are still stuck with ideas about the thing itself, with the materiality of matter. Form, even the form of the formless, is irreducible.”

La faim du livre

Along with Gérard Berréby, Augustin Trapenard, and Hervé Laurent, I was interviewed by Linn Levy for a piece entitled “La faim du livre” which appeared in the December 2013 issue of Swiss magazine Edelweiss. The article features on pp. 44-47; my interview is on p. 46.

La faim du livre

Edelweiss part en quête de la littérature contemporaine, des mots qui dérangent et se demande si être écrivain veut encore dire quelque chose par les temps qui courent. Quatre intellectuels se penchent sur ces questions et nous éclairent.

«Nous sommes les visages de notre temps», clamaient les futuristes russes, le poète Maïakosvki en tête, il y a exactement un siècle, pétris de la conviction que l’art qu’ils inventaient allait renverser l’ordre des choses, qu’en récrivant le monde ils façonneraient le futur. Et aujourd’hui? A qui appartiennent les visages de l’époque contemporaine? Peut-on encore écrire? Et quels sont, parmi le demi-millier d’ouvrages publiés cette rentrée en Suisse et en France, ceux qui tordent la littérature, l’éprouvent, l’inventent? Oui, dans quels livres trouve-t-on les questions que nous ne nous sommes pas encore posées? Difficile pour le lecteur de se retrouver dans le magma de fictions qui ornent les étals des librairies comme les marchandises envahissent les hypermarchés. Le divertissement, devenu la norme au risque d’endormir insidieusement les esprits, laisse peu de place au doute, la tension semble diluée, presque rien ne dérange, pas grand-chose ne dépasse. Alors, pour celui qui a faim d’autre chose que de spectacle et qui ne déteste pas être dérangé – «Etre scandalisé, un plaisir», assurait Pasolini –, il s’agit de résister en cherchant les lignes qui dévient, la littérature, la vraie, ce souffle qui a «la faculté d’empêcher la folie du monde de s’emparer totalement de nous», comme l’écrit Alberto Manguel. Quatre experts nous éclairent sur les mots d’aujourd’hui, l’influence du web, la mort imminente du droit d’auteur, celle de la figure de l’écrivain, sur le remix aussi, et l’irrévérence anglo-saxonne ou helvétique… L’éditeur Gérard Berréby, l’écrivain et professeur Andrew Gallix, le journaliste Augustin Trapenard et le critique d’art Hervé Laurent ont accepté de surcroît de dévoiler leurs titres préférés de la rentrée.

Andrew Gallix
Ecrivain, éditeur, professeur à la Sorbonne

L’écriture a cinquante ans de retard sur la peinture – triste constat de l’artiste Brion Gysin dans les années 60… «Et, pour le philosophe et romancier anglais Lars Iyer, la situation n’a fait qu’empirer. Le roman, censé échapper au monde des genres, est lui-même devenu un genre. Pour lui, la littérature est morte (comme la musique classique avant elle) et les livres que l’on peut encore écrire doivent exprimer la distance qui nous sépare de la grande littérature du passé. Cette «postlittérature» s’inscrit d’ailleurs dans un contexte politique et culturel plus général: pour Mark Fisher ou Simon Reynolds, par exemple, la modernité est derrière nous. Cette nouvelle crise du roman, symbolisée par Reality Hunger, le manifeste de David Shields, se traduit souvent par un rejet de la fiction.» Les idées se bousculent dans l’esprit brillant d’Andrew Gallix. L’écrivain britannique, professeur à la Sorbonne, collaborateur du quotidien The Guardian, punk depuis l’âge de 12 ans, a lancé en 2000 le premier blog littéraire en anglais, «3:AM Magazine»1, dont le mot d’ordre est le très groucho-marxesque: «De quoi qu’il s’agisse, nous sommes contre». Un webzine si avant-gardiste qu’il a donné naissance à un véritable mouvement littéraire, The Offbeat Generation, regroupant des plumes anglophones non conformistes (Tony O’Neill, Ben Myers, Tom McCarthy notamment), rejetant la culture dominante et le monde traditionnel de l’édition. «La littérature est quelque chose qui résiste, analyse-t-il. Même s’il n’existe plus vraiment d’avant-garde – le web l’a diluée en quelque sorte –, je remarque que l’écriture conceptuelle, expérimentale prend de plus en plus d’importance. Il y a toute une génération d’auteurs qui reste très influencée par la théorie poststructuraliste de Derrida, je pense notamment à Rachel Kushner. Il y a un autre courant d’écrivains, américains pour la plupart, qui s’inscrit dans la directe lignée de l’éditeur Gordon Lish – celui qui a en quelque sorte fait Raymond Carver. Pour eux, tout se passe au niveau de la phrase. Et, pour finir, je trouve passionnante et à suivre la scène littéraire qui s’est formée autour de la revue new-yorkaise n+1 (nplusonemag.com).»
1 http://www.andrewgallix.com / http://www.3ammagazine.com

Il lit:
Au départ d’Atocha, Ben Lerner (à paraître)
C, Tom McCarthy, L’Olivier
Nue, Jean-Philippe Toussaint, Editions de Minuit

Literature For the MySpace Generation

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Am mentioned in Sam Jordison’s “Literature For the MySpace Generation,” The Guardian, Wednesday 7 February 2007

Sam Jordison discovers how a new wave of publishers and writers are harnessing the power of MySpace and print on demand to bypass their bricks-and-mortar competitors to find new audiences

Journalists have an appalling track record when it comes to predicting revolution in the publishing industry, particularly when related to new technology. It was only at the turn of the millennium, for instance, that we were confidently forecasting that the rising “e-tide” would wash away the old publishing houses. Electronic books were going to make the traditional ink and paper product seem as ludicrously old-fashioned as Moses’s stone tablets. Meanwhile, the free transfer of data on the internet was going to make publishers’ distribution networks entirely redundant and loosen their grasp on copyright so completely that most of their revenue streams would dry up.

Of course, since then, almost the exact opposite has happened. Numerous mergers and acquisitions have ensured that the big houses have a tighter grip on the market than ever before, while the internet has actually generated new millions and new markets as blogs and popular websites have been bought up and turned into successful product. And has anyone ever seen an e-book?

Bearing all this in mind — and remembering that it takes a special kind of fool to augur change in the book world anyway — it’s with considerable nervousness that I’m now going to make my own assertion. A shake-up may well be coming — and it’s thanks to the opportunities opened up by new technology and the internet.

Leading the charge is Heidi James, the 33-year-old owner and sole employee of Social Disease, a new kind of publishing company. It does most of its marketing and talent scouting on the internet and relies on new print on demand technology to keep its costs sufficiently low to ensure that, even if it can’t compete with the publishing behemoths, it won’t be crushed by them anytime soon either.

James sums up Social Disease’s raison d’être as: “Zadie Smith is not fucking interesting”, and neither are Monica Ali and the dozens of other writers of similar social comedies that emerged in the wake of White Teeth’s huge success. “All this postmodern irony is just so dull,” James explains. “And I realised that I really hate the homogeneity of the publishing world where it’s next to impossible to get genuinely interesting work published. The big publishing houses would have you believe that there isn’t a market for new and exciting work that takes a few risks and makes a demand on its readers, but that’s bollocks. Absolute bollocks.”

To prove this point she set up her own company, taking its name from the Andy Warhol quote — “I have Social Disease. I have to go out every night. If I stay home one night I start spreading rumours to my dogs” — and promising to bring back the element of risk that James claims has all but disappeared from conventional publishers’ lists.

“I don’t believe that people are stupid,” she declares. “I do believe that readers are out there. I know that people are interested and like to be challenged, it’s just that no one is prepared to challenge them at the moment. And if the product’s not there, how can they buy it?”

The plan of how to do this is beguilingly simple: there isn’t one. James is the only person in the company, so there are no shareholders to answer to. Social Disease’s costs are negligible: a small amount for cover designs and the time investment necessary to edit the books; and because it’s print on demand, there are no setup costs associated with each print run, the writers receive a healthy royalty for each book sold and profits can be ploughed back into design and marketing.

James claims there has been a significant takeup from independent booksellers, including such major players as Foyles. Meanwhile, the books are easily obtainable through Amazon and a growing community on the social networking site MySpace is already clamouring for the kind of writing that Social Disease promotes.

The implications of all this are intoxicating. Next time a John Kennedy Toole — whose suicide has been directly attributed to the fact that no one would print his masterpiece, A Confederacy of Dunces — comes along, their work can not only be published online, but stand a significant chance of finding a home with publishers like Social Disease who would risk nothing by promoting them.

However, if the advantages of this kind of small-scale, DIY publishing are clear, so too are the drawbacks. Print on demand is not yet able to provide the economies of scale of traditional print runs (the unit cost of a print run of one book is the same as for 10,000) and Social Disease is never going to make the kind of profits or pack the same marketing and distribution punch as the big publishing houses.

It’s also worth noting that James’s first novel, Carbon, is to be published by more conventional methods (via Wrecking Ball Press), although she does point out that one of her writers, Paul Ewen, recently declined the overtures of a bigger publisher to sign with Social Disease. More importantly, she says, her aim isn’t to make money and sell a product. It’s to nurture new talent, promote new writing, give writers a platform and at the same time offer the public choices that big publishers can’t or won’t.

Alongside James there now stand a growing number of like-minded readers and writers, exploiting MySpace’s networking and self-promotion opportunities as confidently as their counterparts in the music industry. Away from the prying eyes of the marketing departments and bean counters, the kind of community that publishers would love to create for themselves has been spontaneously growing up.

Most attempts have been doomed to failure because the website just doesn’t offer the same advantages to the printed word as it does to music (after all, it’s far easier to listen to a three-minute song than to read a novel, or even a short story, on the site’s notoriously badly designed blog interface). Nevertheless, these literary MySpace pages, complete with links to samples of their work, attract a large network of online “friends” who share similar tastes and interests.

Chief among these are the Brutalists and the Offbeat Generation, who between them boast hundreds of MySpace contacts (including countercultural figures like punk renaissance man Billy Childish, as well as the usual handful of bizarre tribute pages to dead heroes such as Jack Kerouac and William Burroughs), and whose message boards contain adverts for a bewildering array of literary events and websites offering samples of all manner of new and obscure writers’ work.

The Offbeat Generation is not, as its spokesman Andrew Gallix (the editor-in-chief of the long-running online literary magazine 3:AM) points out, strictly speaking “a generation” (since its writers range in age from 18-40), rather it is a bunch of people “united” because they “feel alienated by a publishing world dominated by marketing”.

The Brutalists, meanwhile, is a cheerfully sweary conglomerate of writers who also claim to be “united by our disgust with mainstream publishing world that consistently rejects us.” As they explain in their online manifesto, Brutalism “means writing that shows no quarter. Writing that rages and burns across the page — writing that doesn’t worry about causing offence, breaking taboos, cutting to the heart of it. Writing that may shock and shake the reader into submission rather than gently caress them. We’re not anti-intellectual or anti-literary but we are anti-apathy and we exist in a highly agitated state.” Pleasingly, they also note: “When they call Pete Doherty a poet — arguably a near contemporary in terms of age/background/interests/location — we can’t help but laugh.”

Both groups have a growing MySpace presence, are widely read on the net and — crucially — both are using that impetus to publish their own anthologies and launch their writers through independent publishers (including, naturally, Social Disease).

At the moment, much of the material you’ll find if you trawl through the links on their MySpace pages are reminiscent of the kind of mini-zine literature that used to be sold in places like the ICA and Tate Modern shop, demonstrating an overpowering influence of Huysmans and Bukowski and labouring under the belief that getting drunk is some kind of artistic statement.

However, as Heidi James points out, web publishing has the distinct advantage in that it’s free. And, whereas in the old days you had to spend your £5 before discovering that you didn’t like the writing in the mini-zines, with the net the worst that can happen is that you’ll hurt your eyes. “There’s also every chance that you’ll be find something you like, you can put it in your favourites to watch how the writer develops and follow the links he or she provides to more like-minded authors. That’s the beauty of it.”

What’s more, while there is a lot of chaff, there’s definitely also some wheat to be found, particularly around both the Brutalists and Offbeat Generation. Even the best writing could arguably benefit from the nurturing attention of a stern editor, but there’s no denying the abundant energy, passion and pleasingly warped imagination of writers such as Matthew Coleman, Ben Myers, HP Tinker, Tony O’Neill and Andrew Gallix — not to mention Heidi James herself. There’s every hope that soon one of them might produce something rather special — and that, if they continue to expand their influence as rapidly as they have been doing in recent months, mainstream publishers will have to sit up and take serious notice.