Emotion Porn

This is the last post from Cold Lake. With the spring semester over, I left Duluth to spend the summer in Minneapolis. The reading continues at Deer Spirit.

...melodramatic weepie is the genre that seems to endlessly repeat our melancholic sense of the loss of origins -- impossibly hoping to return to an earlier state which is perhaps most fundamentally represented by the body of the mother.

-Linda Williams, "Film Bodies: Gender, Genre and Excess" (1991)

Outrun My Gun

Robert's got a quick hand
He'll look around the room
He won't tell you his plan
He's got a rolled cigarette hanging out his mouth 
He's a cowboy kid
Yeah, he found a six-shooter gun
In his dad's closet hidden in a box of fun things
And I don't even know what
But he's coming for you, yeah, he's coming for you

All the other kids with the pumped up kicks 
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks 
You'd better run, better run, faster than my bullet
All the other kids with the pumped up kicks 
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks 
You'd better run, better run, faster than my bullet

Daddy works a long day
He be coming home late, yeah, he's coming home late
And he's bringing me a surprise
Because dinner's in the kitchen and it's packed in ice
I've waited for a long time
Yeah, the slight of my hand is now a quick pull trigger
I reason with my cigarette
And say your hair's on fire
You must have lost your wits, yeah.

Cruel Science

It is an unanswered question how specific the cries of the human neonate may be, although some mothers are confident they can distinguish different types of cries from their infants.

One method of answering such a question would be to record a sample of the cries of a neonate during its first week. Then, at moments when the infant was not crying, subject it to a distributed series of playbacks of its past cries, and record the fresh crying which the infant emitted in response to hearing itself cry. The infant should cry to the sound of its own cry, since the cry is a quite contagious response. One could then examine the degree of correlation between each cry which was used as a stimulus and the contagious response to that cry. If the neonate does emit distinctively different cries, then it should respond differentially to its own distinctive cries; therefore the variance between pairs of cries should exceed that within pairs of cries. To our knowledge such a test method has not yet been employed.(7-8)

***

Frings and Jumber tape-recorded the distress cries of a starling which it uttered when caught. They then played this at high volume over a loudspeaker in a town where there were many starlings. The effect was to drive the starlings away permanently.

There are also distress cries of birds which have exactly the opposite effect on the parent bird who hears them. In species of birds in which the mother does no feeding, the cries of the infant birds bring the mother and prevent their getting lost.

The extraordinary specificity of such responses was shown in a study by Bruckner who found that the domestic hen responds only to the sound of the distress call of the chick. When he fastened a chick to a peg behind a screen, the mother would come to its rescue when she heard the chick crying. But when he put the chick under a glass dome so that the mother cuold see it struggling but could not hear its distress cry, she was entirely indifferent.(15-16)

-Silvan Tomkins, Affect, Imagery, Consciousness

Sick Rose

By William Blake 1757–1827(code from the Poetry Foundation)

O Rose, thou art sick!

The invisible worm

That flies in the night,

In the howling storm,

Has found out thy bed

Of crimson joy:

And his dark secret love

Does thy life destroy.

Sex Sentence

"...impure Ganimeds, Hermaphrodits, Neronists, Messalinists, Dodecomechanists, Capricians, Inventors of newe, or revivers of old leacheries, and the whole brood of venerous libertines, that know no reason but appetite, no Lawe but Luste, no humanitie, but villanye, noe divinity but Atheisme.”

-Gabriel Harvey, 1593, on the bad company kept by satirist Thomas Nashe (1567-1601)

...But good, my brother,
Do not, as some ungracious pastors do
Show me the steep and thorny way to heaven
Whiles, like a puffed and reckless libertine
Himself the primrose path of dalliance treads
And recks not his own rede.

-Ophelia to Laertes, Hamlet I. iii, 49–4)

Affect explosion

...The characters are into emotional laceration for fun. They are verbal, articulate, self-absorbed, selfish, egotistical, cold and fascinating. They've never felt an emotion they couldn't laugh at.

..."Margot at the Wedding" may not be based on Noah Baumbach's own family, but it demonstrates a way of looking at families he must have learned somewhere. Both of his parents were writers and, to one degree or another, film critics; I recall Gene Siskel telling a friend at dinner that film critics eventually became critical of everything: For example, "your tie is hideous." In revenge, the friend went to Marshall Field's and asked to buy their ugliest tie. Two salesclerks helped him in a spirited debate to select the tie that qualified. My friend wore it the next time they met. Siskel identified the brand of the tie correctly and said: "If you like that tie, it shows you have better taste than 99 percent of men."

So it goes with the family in this movie. All of its members are engaged in a mutual process of shooting one another down.

-Roger Ebert

FIlm: In the Name of the Rose

Here's one part that is likely better than the book!

Said on Theory

Theory, in short, can never be complete, just as one's interest in everyday life is never exhausted by simulacra,models, or theoretical abstracts of it. Of course one derives pleasure from actually making evidence fit or work in a theoretical scheme, and of course it is ridiculously foolish to argue that "the facts" or "the great texts" do not require any theoretical framework or methodology to be appreciated or read properly. No reading is neutral or innocent, and by the same token every text and every reader is to some extent the product of a theoretical standpoint, however implicit or unconscious such a standpoint may be. I am arguing, however, that we distinguish theory from critical consciousness by saying that the latter is a sort of spatial sense, a sort of measuring faculty for locating or situating theory, and this means that theory has to be grasped in the place and time out of which it emerges as part of that time, working in and for it,responding to it; then, consequently, that first place can be measured against subsequent places where the theory turns up for use. The critical consciousness is awareness of the differences between situations, awareness too of the fact that no system or theory exhausts the situation out of which it emerges or to which it is transported.

It may seem an abrupt conclusion to reach, but the kinds of theory I have been discussing can quite easily become cultural dogma. Appropriated to schools or institutions, they quickly acquire the status of authority within a cultural group, guild or affiliative family. Though of course they are to be distinguished from grosser forms of cultural dogma like racism and nationalism, they are insidious in that their original provenance -- their history of adversarial, oppositional derivation -- dulls the critical consciousness, convincing it that a once insurgent theory is still insurgent, lively, responsive to history. Left to its own specialists and acolytes, so to speak, theory tends to have walls erected around itself, but this does not mean that critics should either ignore theory or look despairingly around for newer varieties. To measure the distance between theory then and now, there and here, to record the encounter of theory with resistances to it, to move skeptically in the broader political world where such things as the humanities or the great classics ought to be seen as small provinces of the human venture, to map the territory covered by all the techniques of dessimination, communication, and interpretation, to preserve some modest (perhaps shrinking) belief in noncoercive human community: if these are not imperatives, they do at least seem to be attractive alternatives. And what is critical consciousness at bottom if not an unstoppable predilection for alternatives?

Edward Said, "Traveling Theory"

Never sleep...

It's the birthday of Nelson Algren (1909) (books by this author). Born Nelson Algren Abraham to working-class parents in Detroit, he grew up in Chicago's immigrant neighborhoods. He wrote his first story, "So Help Me," during the Great Depression, while he was working at a gas station in Texas. His life — and work — changed dramatically after he was caught stealing a typewriter and spent five months in jail. His later novels and stories would feature the down-and-out, the loser, and the reject. He became known as a writer of Chicago; he wrote: "If a writer could write the truth about one Chicago street, that would be a good life's work."

In A Walk on the Wild Side (1956), set in the world of pimps and prostitutes in New Orleans, Algren gives his three rules for life: "Never play cards with a man called Doc. Never eat at a place called Mom's. Never sleep with a woman whose troubles are worse than your own." The novel is, in many ways, about the contempt of a nation for its dispossessed, and in it he wrote: "When we get more houses than we can live in, more cars than we can ride in, more food than we can eat ourselves, the only way of getting richer is by cutting off those who don't have enough."

Nelson Algren, who said, "A certain ruthlessness and a sense of alienation from society is as essential to creative writing as it is to armed robbery."

--The Writer's Almanac with Garrison Keillor, March 28, 2012

Weird Recipes: Sea Sludge Stew

雪蛤海参煲
Stew of Sea Cucumber and Hasma

用途:

补肾益精  润肺养阴  病后虚弱  肺痨咳嗽  吐血  盗汗  妇女性功能低下  更年期综合症  

材料:

蛤蟆油6克，鸡精5克，香菇50克，竹荪20克，姜5克，盐5克，水发海参600克，鸡油50克，玉兰片30克，上汤2500毫升，葱5克。

做法:

1、将蛤蟆油淘洗干净，去杂质、筋皮及黑子，用温水浸泡2小时，再除去杂质，洗净。

2、水发海参切片，洗净，同蛤蟆油、姜、葱、香菇、调料一起放入锅内，加入上汤和鸡油，置武火上烧沸，再改用文火煲30分钟，调味即可。-- Xinshipu.com

“Some people call hasma frog fat, others call it frog ovaries, still others refer to it as frog cream or frog oil. All are wrong as hasma is moist, has many hormones, and a high lipid content, but really it is a combination of fat and part of the reproductive area.” -- Flavor and Fortune

Even if it wasn’t what I would actively have desired to eat half an hour after getting out of bed, it was wonderful – the fresh springiness of the sea cucumbers; the tender, transparent gelatinousness of xue ha, the delicate broth, the freshness of the coriander. -- Fuchsia Dunlop

I write. I write you.

I write. I write you. Daily. From here. If I am not writing, I am thinking about writing. I am composing. Recording movements. You are here and I raise the voice. Particle bits of sound and noise gathered pick up lint, dust. They might scatter and become invisible. Speech morsels. Broken chips of stones. Not hollow not empty. They think that you are one and the same direction addressed. The vast ambiant sound hiss between the invisible line distance that this line connects the void and space surrounding entering and exiting.

They have not questioned. It is all the same to them. It follows directions. Not yet. They have not learned the route of instruction. To surpass overtake the hidden even beyond destination. Destination.

I have the documents. Documents, proof, evidence, photograph, signature. One day you raise the right hand and you are American. They give you an American Pass port. The United States of America. Somewhere someone has taken my identity and replaced it with their photograph. The other one. Their signature their seals. Their own image. And you learn the executive branch the legislative branch and the third. Justice. Judicial branch. It makes the difference. The rest is past.

You return and you are not one of them, they treat you with indifference. All the time you understand what they are saying. But the papers give you away. Every ten feet. They ask your identity. THey comment upon your inability or ability to speak. Whether you are telling the truth or not about your nationality.

They say you look other than you say. As if you didn't know who you were. You say who you are but you begin to doubt. They search you. They, the anonymous variety of uniforms, each division, strata, classification, any set of miscellaneous properly uni formed. They have the right, no matter what rank, however low their function they have the authority. Their authority sewn into the stitches of their costume. Every ten feet they demand to know who and what you are, who is represented. The eyes gather towards the appropriate proof. Towards the face then again to the papers, when did you leave the country why did you leave this country why are you returning to the country.

You see the color the hue the same you see the shape the form the same you see the unchangeable and the unchanged the same you smell filtered edited through progress and westernization the same you see the numerals and innumerables bonding overlaid the same, speech, the same. You see the will, you see the breath, you see the out of breath and out of will but you still see the will. Will and will only espouse this land this sky this time this people. You are one same particle. You leave you come back to the shell left empty all this time. To claim to reclaim, the space. Into the mouth the wound the entry is reverse and back each organ artery gland pace element, implanted, housed skin upon skin, membrane, vessel, waters, dams, ducts, canals, bridges.

Composition of the body, taking into consideration from conception, the soil, seed, amount of light and water necessary, the geneology. Not a single word allowed to utter until the last station, they ask to check the baggage. You open your mouth half way. Near tears, nearly saying, I know you I know you, I have waited to see you for long this long. They check each article, question you on foreign articles, then dismiss you.

--Theresa Cha, Dictee

Sticky Songs

...during some songs, listeners never seemed to change the radio dial. Among DJs, these songs are known as “sticky.” Meyer had tracked hundreds of sticky songs over the years, trying to divine the principles that made them popular. His office was filled with charts and graphs plotting the characteristics of various sticky songs. Meyer was always looking for new ways to measure stickiness, and about the time “Hey Ya!” was released, he started experimenting with data from the tests that Arbitron was conducting to see if it provided any fresh insights.

Some of the stickiest songs at the time were sticky for obvious reasons—“Crazy in Love” by Beyoncé and “Señorita” by Justin Timberlake, for instance, had just been released and were already hugely popular, but those were great songs by established stars, so the stickiness made sense. Other songs, though, were sticky for reasons no one could really understand. For instance, when stations played “Breathe” by Blu Cantrell during the summer of 2003, almost no one changed the dial. The song is an eminently forgettable, beat-driven tune that DJs found so bland that most of them only played it reluctantly, they told music publications. But for some reason, whenever it came on the radio, people listened, even if, as pollsters later discovered, those same listeners said they didn’t like the song very much. Or consider “Here Without You” by 3 Doors Down, or almost any song by the group Maroon 5. Those bands are so featureless that critics and listeners created a new music category—“bath rock”—to describe their tepid sounds. Yet whenever they came on the radio, almost no one changed the station.

Then there were songs that listeners said they actively disliked, but were sticky nonetheless. Take Christina Aguilera or Celine Dion. In survey after survey, male listeners said they hated Celine Dion and couldn’t stand her songs. But whenever a Dion tune came on the radio, men stayed tuned in. Within the Los Angeles market, stations that regularly played Dion at the end of each hour—when the number of listeners was measured—could reliably boost their audience by as much as 3 percent, a huge figure in the radio world. Male listeners may have thought they disliked Dion, but when her songs played, they stayed glued.

--Charles Duhigg, The Power of Habit

I wandered

"I WANDERED LONELY AS A CLOUD"

 
          I WANDERED lonely as a cloud
          That floats on high o'er vales and hills,
          When all at once I saw a crowd,
          A host, of golden daffodils;
          Beside the lake, beneath the trees,
          Fluttering and dancing in the breeze.
 
          Continuous as the stars that shine
          And twinkle on the milky way,
          They stretched in never-ending line
          Along the margin of a bay:                                  10
          Ten thousand saw I at a glance,
          Tossing their heads in sprightly dance.
 
          The waves beside them danced; but they
          Out-did the sparkling waves in glee:
          A poet could not but be gay,
          In such a jocund company:
          I gazed--and gazed--but little thought
          What wealth the show to me had brought:
 
          For oft, when on my couch I lie
          In vacant or in pensive mood,                               20
          They flash upon that inward eye
          Which is the bliss of solitude;
          And then my heart with pleasure fills,
          And dances with the daffodils.
                                William Wordsworth, 1804; code from Bartleby.com

Article to Memorize (Excerpts)

...In year one and every year thereafter, read the job ads in your field, and track the predominant and emerging emphases of the listed jobs. Ask yourself how you can incorporate those into your own project, directly or indirectly. You don't have to slavishly follow trends, but you have to be familiar with them and be prepared to relate your own work to them in some way.

Have a beautifully organized and professional CV starting in your first year and in every subsequent year. When I was a young assistant professor, a senior colleague told me that her philosophy was to add one line a month to her CV. Set that same goal for yourself. As a junior graduate student, you may or may not be able to maintain that pace, but keep it in the back of your mind, and keep your eye out for opportunities that add lines to your CV at a brisk pace.

Plan out a publishing trajectory to ensure that you have at least one sole-authored refereed journal article before you defend your dissertation.

Attend national conferences annually.

Applying for a wide range of grants is one of the best intellectual exercises in which you can engage.

Avoid like the plague offers of publication in edited collections, which is where good publications go to die. If you have a piece of work that can pass muster as a publication, make sure that it goes into a refereed journal, the best one you can reasonably manage.

Cultivate a letter writer who is not from your Ph.D.-granting institution.

Most people who prevail on the market need at least two years to do so.

Devote as much time as it takes to writing out brief—and I do mean brief—summaries of your dissertation research, teaching techniques and philosophy, and your future publication plans. Practice delivering those brief summaries until they become second nature.

Make your application materials absolutely flawless. Take your ego out of the process and ask everyone you know to ruthlessly critique your CV, letter, teaching statement, and research statement. Prioritize the advice you receive from young faculty members who have recently been on the market, and from senior professors who have recently chaired a search committee.

--Karen Kelsky, "Graduate School Is a Means to a Job" My favorite comment:

Isn't this just reinforcing the much criticized claim that "there are good jobs out there for good people"? While much of this advice is very useful, I bristle at it slightly because it seems to suggest that job seekers aren't getting jobs because they haven't figured out how to mold themselves into what the market supposedly wants--not because of major structural problems in the market itself. I have a hard time believing that there is some secret formula that ensures success in academia. I know people who got jobs after doing nearly everything this article recommends, but I also know others who did everything "right" and still came up empty handed. On the other hand, I certainly did not do everything Dr. Kelsky suggests to prepare for my own job search but was nevertheless one of the extraordinarily lucky few to get a tt job my first year on the market.

Mad Men Seasons 1-2

Season one, final episode: best scene with sentimentality in recent TV; highlights to season 2.

The Last Emperor

Triad 三合会

One of the wealthiest magnates ensnared in the purges was Li Jun, a Chongqing real estate mogul. Like hundreds of other private business executives, he said during 16 hours of interviews this month, he became a target of police, government and military officials who framed him as a “black society” boss.

He eventually lost control of his $711 million conglomerate and fled the country, branded a fugitive. Before his escape, he said, he endured three months of beatings, torture and relentless pressure to implicate others in nonexistent crimes.

He said his tormentors sought to confiscate his assets and extract a confession that could help frame rivals of Mr. Bo’s powerful ally in the military, Gen. Zhang Haiyang, now the political commissar of China’s nuclear forces.

Li Jun buttressed his account with photos taken at a secret detention facility and with binders of legal documents signed by military and police officials. A scholar of Chinese politics at Columbia University, Andrew Nathan, authenticated five documents supporting his claims of innocence.

Li Jun’s troubles began within a year after Mr. Bo’s appointment. A subsidiary of his company won a $50 million public bid for a hilly tract of land outside Chongqing. The seller was one of China’s five regional military commands, he said, led at the time by General Zhang.

In December 2009, under orders signed by the police chief, Mr. Wang, Li Jun was detained on suspicion of more than a dozen crimes, including organizing prostitution, usury, contract fraud, bid-rigging and bribery. He was bound to a “tiger bench,” a medieval-style iron seat with a straight back and a grooved bottom, and was kicked, pummeled and berated for 40 straight hours. At that point, he said, “I just wanted to die.”

A top military interrogator presented Li Jun with a list of more than 20 military officers, apparently rivals of Mr. Bo’s ally General Zhang, and accused him of bribing 2 of them to win the bid on the tract of land. “Don’t you see?” he said his interrogator finally told him. “Bo Xilai and Political Commissar Zhang are friends who grew up together. You are being framed. ”

Li Jun said he refused to confess. Finally, in March 2010, he was released and cleared of wrongdoing after paying the military command a $6.1 million fine. But after a police prostitution sting against a club he owned that October, he received a tip that he would be rearrested, and fled the country.

Thirty-one relatives and colleagues have since been jailed. His wife served a one-year sentence for aiding his flight. His elder brother was sentenced to 18 years in prison, his nephew 13 years. He had transferred ownership of his company to them in an attempt to shield it.

“It’s just like some new kind of Cultural Revolution,” he said. “Chongqing strikes down the landlords, redistributes the land and slaps a bad name on your head, ‘triad,’ from which you can never be freed.”

-"Crime Crackdown Adds to Scandal Surrounding Former Chinese Official," by SHARON LaFRANIERE and JONATHAN ANSFIELD, The New York Times

Fielding's Classicism

Fielding's attempt to cater to three audiences indicates that he anticipated more than a single response to his fiction. Readers who shared his knowledge of the classics would probably recognize the misuse of classical references as one signature of a given character and could identify with the narrator of Joseph Andrews, Tom Jones, or Amelia, appreciating the way he skillfully exploits allusions to ancient literature. Readers with only a smattering of Latin might initially identify with characters who rely heavily on Latin tags because that level of learning would most closely match their own, but they would be entrapped, because Fielding often links faulty learning and dubious morals. Fielding's least educated audience, who could be annoyed at untranslated quotations or would simply skip the classical references altogether, might misread characters who misuse classics -- as have some modern critics. Such readers might be blinded to characters' positive attributes by their hostile reaction to classical allusions and quotations; without other clues to personality, such an audience would probably rely more heavily on the narrator for guidance, thereby reinforcing his authority.

***

One cannot deny that Fielding reacted to the works of Defoe and Richardson -- and to those of a host of other eighteenth-century writers -- and that he drew on genres such as romance and spiritual autobiography, which also influenced others. As Watt has demonstrated, however, Defoe and Richardson entirely rejected the relevance of classical tradition because of its supposed immorality. Unlike them, Fielding drewon the classics in developing his conception of the novel as a form and used classical authority extensively in his criticism and his discussions of morality. When he openly acknowledges his debt to ancient literature, he self-consciously distances himself from Defoe and Richardson and associates himself with others who drew from the classical tradition. By identifying his fiction with classical forms, Fielding calls attention to the differences between his "literary" novels and those of his contemporaries, and he establishes a legitimate genealogy based on another tradition.

-Nancy Mace, Henry Fielding's Novels and the Classical Tradition (1996)

Glance at Muir, The Structure of the Novel

The dramatic figure is the opposite of the man of habit; he is the permanent exception. He breaks habit, or has it broken for him; he discovers the truth about himself, or in other words develops. He dramatises his real nature, where the flat character dramatises his second nature, or at best something in him which has been real but is so no longer. The utterance of the dramatic figure is therefore actually true, the utterance of the character symptomatic or symbolical.

A few instances will make clearer what is really a very obvious point. Here is the first:

MICHAEL HENCHARD’S WILL “That Elizabeth-Jane […] be not told of my death, or made to grieve on account of me.
“& that I be not bury’d in consecrated ground.
“& that no sexton be asked to toll the bell.
“& that nobody is wished to see my dead body.
“& that no murners walk behind me at my funeral.
“& that no flours be planted on my grave,
“& that no man remember me.
“To this I put my name.
“MICHAEL HENCHARD

Here are the others:

'And eggs,' said Mr Pecksniff, 'even they have their moral. See how they come and go! Every pleasure is transitory. We can't even eat, long. If we indulge in harmless fluids, we get the dropsy; if in exciting liquids, we get drunk. What a soothing reflection is that!'

As I must therefore conclude that you are not serious in your rejection of me, I shall chuse to attribute it to your wish of increasing my love by suspense, according to the usual practice of elegant females.

Cape Breton an island ! wonderful ! — show it me in the map. So it is, sure enough. My dear sir, you always bring us good news. I must go and tell the King that Cape Breton is an island.

The last quotation is from history, the others are from fiction. The difference between the first and the rest is, in any case, striking enough. Michael Henchard speaks from the heart, the others speak from their habitual selves; and the reader is quite well aware of it.

-Edwin Muir, The Structure of the Novel, 1928

A glance at Lukacs

This book was composed during the winter of 1936-7...the book pins exaggerated, indeed false, hopes on the independent liberation movement of the German people, on the Spanish revolution, etc...What I had in mind was a theoretical examination of the interaction between the historical spirit and the great genres of literature which portray the totality of history -- and then only as this applied to bourgeois literature; the change wrought by socialist realism lay outside the scope of my study...

...the fact that the historical novels which make the most noise today are those which accomodate a purely belletrist treatment of life to the latest fashions cannot affect the foundations of the artistic form...

Georg Lukacs, The Historical Novel, Preface to the English edition, 1960.

...the historical novel of our day, despite the great talent of its best exponents, still suffers in many respects from the remnants of the harmful and still not entirely vanquished legacy of bourgeois decadence...its different problems of form are but artistic reflections of these social-historical transformations.

Georg Lukacs, The Historical Novel, Forward, 1937.