My review of DAMIEN HIRST: CORPUS: DRAWINGS 1981–2006, at Gagosian, is in today's New York Sun.
driving down the Pacific Coast Highway with Michel Houellebecq and waiting for something 'bad' to happen [From The Believer]:
It’s true I’ve been on the road with him all week and his behavior has been impeccable, but something’s got to give. There’s too much history. What about his purported obsession with sex clubs and prostitutes? What about his penchant for hitting on female journalists, explaining that only one night with him will guarantee the real story? What about the time he called Islam “the stupidest religion”? Surely, the man’s going to bust out with something reprehensible, and now, in his smoke-filled semi-suite at the Bel Age in L.A., is as good a time as any. He flies back to Europe tomorrow.
---Gabriel Josipovici on Borges' Tlön, Uqbar, Orbis Tertius [from ReadySteadyBook]:
Borges, like Beckett, dislikes the novel for two reasons, one having to do with literature and the other with life. He dislikes it because he finds it tedious and uninteresting to imitate reality, and he dislikes it because he feels that it propagates a false view of life which stops us seeing what life is really like.
---Here's a considered essay on intimacy, desire and communication in the poetry of Yves Bonnefoy--whose The Curved Planks I'm currently reading--from an old issue of Jacket magazine:
In a lecture titled ‘Sur la fonction du poème’ (On the function of the poem)Bonnefoy explored the question which underlies this first and subsequent books of poetry and his numerous critical works: the possibility of maintaining in poetic language an openness toward presence. The work of poetry is to cultivate that openness through what he has elsewhere referred to as its ‘work on desire’. Ideally, poetry would work to unravel the desires of reader and writer alike for the realization and recognition of their own subjectivities in language, in order to allow what is conceived of as a simpler, or, in Bonnefoy’s terms, second desire to emerge. The ‘second desire’ attaches the subject to others in a relationship of ‘communication’. For Bonnefoy, communication is the site of our intimate and mutual recognition of the relation of human existence, the existence of each of us, to death and the loss of presence.