Pomp and Intertext

Cultural Commentary by Erica Eller

Extreme Boredom: A pitfall of reading a lot of literature

If it’s boring, it might be literary.

There are stylistic tropes that fling around literary writing, just like they do around marketing writing or humor writing. Marketing writing always includes some kind of manipulative “why not” statement that tips your weight off balance, making you accidentally click “buy.” Jokes tend to be gestural and feature costumes, accidents, squeamish sex or other bodily functions, self-deprecation and the like. Then we reach the literary, wherein the words are supposed to cling to our palettes like fine wine. More often than not, I find that it clings to the roof of my mouth like peanut-butter. It is precisely this everyday-plain-yet-sublime-concrete-details trope that I’m bored with. Personally, I never liked peanut butter as a child, especially since my mom always bought the chunky kind. Any other nut could have made the spread more glorious. I mean, why not grind up pistachios, instead?


Here’s an example.

Susan Straight — award winning author — writes the following paragraph in her story, “The Perseids,” found in the most recent issue of Granta:

“He turned the binoculars on his house – thirty feet away down the long cement path bordered with river rock, past the old plow and stone water trough. The ancient redwood shingles on the house had darkened to tight black scales. The first time his best friend Manny’s father picked up Dante for baseball practice, he said to Dante’s father, ‘Damn – these shingles aren’t even painted, homes!’”

(my emphasis added)

These are precise details, surely. Yet, to me, they are so uninspiring in the imagination, that I get that peanut-butter-sticking-to-the-roof-of-my-mouth feel from reading this. Perhaps the nausea rather than sentimentality towards my Spokane, Washington upbringing has something to do with it. Our faded-glory landscape featured plenty of river rock (as I recall from when I lived there). The main geographic feature of that area was a river. This portrait reminds me of the middle-class homes that people like me could have afforded in my parents generation. River rocks remind me of the 1970s when people had an opportunity to make significant changes in society and didn’t, opting for Nixon followed not long after by Reagan. “River rock” reminds me of how my grandparents, who would take me, in the twilight of their dementia, down to the river to show me how to skip rocks. We’d watch adorable ducks waddle by, and my grandpa would tell us stories of duck hunting. The river rocks even remind me of the popular Christian-Methodist summer camp I joined once, situated along the Spokane river, with the teenage cliques and full-blown group-think episodes of Jesus-acceptance catharsis that made me feel even more alienated than my own Catholic-republican family did. River rocks as evocative details are such a turn off for me.

On to “old plow” and “stone water trough”–don’t even get me started. These are clearly out-of-use relics that have been turned into middle class decorations. Why not throw in some old boots, a long saw-tooth blade and a buffalo skull? These things once had a function, you know, and those times were not as simple and easy-going as this nostalgic home-portrait suggests. These were backbreaking days that led to newly worshiped inventions: motorized tractors and lighter weight materials such as plastic. The ease and convenience of our new technological advancements in fact make the objects in this portrait fantastical, like a stage-set designed by Ralph Lauren. Placing these items inside the frame of the picture does nothing to highlight history, since our white parents with their complicated stories of genocidal Indian Wars paired with immigration and agrarian hardship aren’t usually the history-disseminating types. So we ponder our origins by decorating with old plows. These objects aren’t placed here to hint at the forces that shaped history in this dainty portrait, but to delete them with an emphasis on our limited, yet satisfactory, purview of cozy domestic life.

Next, the “ancient redwood shingles” emphasize the distance of time as if to slap us on the face and say, “get nostalgic!” This was so far back in time, they could actually cut down redwoods and turn them into something as mundane as shingles and not even protect them with paint! Back in those days, they could easily replace such shingles, so paint was but a mere afterthought. Oh my, how the prices have changed and our world has been turned upside down by clear-cutting. It’s as if the toilet in the house is studded with diamonds–and moreover, they didn’t even bother to wipe the piss of of them! This is not a pretty picture. These were distant times with vastly plentiful resources that are now scarce. (Oops!) Rampant expansion known as “civilization” happened and now the memory of abundance tugs our heart strings. How about that California drought? Not just shingles but entire redwood forests are turning black.

The “tight black scales” of the house emphasize the ruinous state the house is in. Moreover, this house is but a fish, and that could be a reference to the Bible, even, in case you haven’t had enough of the Bible stuffed down your throat in summer camp. And do you see how the “river rock” and the “fish scales” of the house turn the portrait into a river-setting without once pointing out water? Don’t stories with rivers usually feature drowning? Just like Chekov’s theory that introducing a loaded gun in the first act only leads to one conclusion. Yet, you’ll notice how the paragraph is “balanced” with these “scales.” These interpretations are all a stretch, and the stretch doesn’t take me anywhere that triggers insight or intrigue.

I’m still bored. And the homey disrepair of the era is again emphasized by the onlooker, who gently criticizes his neighbor, as if unaware he is doing so. He is, in fact, a bit rude. But we are somehow obliged to forgive his folksy ways, because he is just a suburban bumpkin, unaware that his comments are potentially condescending. Because in ‘merica, monkey see, monkey say. We verbalize and apologize later, all unawares. We expect hearty comradeship without push back, especially in white-on-white dialogue. In other words, literature in ‘merica means a no-nonsense embrace of the banal.

Sometimes, I cannot stomach literature. Indeed, the above details are not “nice” or “sympathetic” or even “interesting” to my ear. The paragraph is the definition of nausea for me, and my boredom increases with each added “concrete detail.” Details alone don’t make a story good. The details are always strapped like a damsel in distress to some overriding Godzilla-like associations, beliefs and ideologies which can easily sweep the text away from a reader. It doesn’t comfort me to read about good-‘ole white America (the elephant in the background of this text).

I crave wit, provocation, originality, estrangement, a sense of history and an outsider status. Those are my google keywords. Perhaps that’s why I eat up Roberto Bolano’s writing like ice-cream. And perhaps this article is not fair to the author or the text. I admit I couldn’t read much beyond this paragraph of the story, so my analysis really only applies to that paragraph.

But I’m not trying to be fair, I’m trying to define my literary taste.


Book Review: & Silk & Love & Flame by Birhan Keskin



“Every culture has a poetics of pathos.

In Greek, pathos means “suffering.” Aristotle defined pathos as one of the rhetorical modes of persuasion. It involves eliciting emotion to produce a desired effect on one’s audience.

In America, we have the blues, with its origins in the spirituals sung by African American slaves on plantations. The blues are laden with feelings of sorrow and hardship. However, they evolved to encompass personal themes, and political messages, without loosing their roots in suffering. The lyrics by Irving Mills of Duke Ellington’s Mood Indigo take us to that poignant state (especially when sung by Billy Holiday):

‘Cause there’s nobody who cares about me
I’m just a soul who’s bluer than blue can be
When I get that mood indigo
I could lay me down and die.

A feeling of deep misery is wedded to the potency of the blues, which has been disseminated and adopted by cultural art forms of all kinds in America and beyond.

In Spain, poet Federico Garcia Lorca identified duende as the tragic streak of madness found in the work of great flamenco dancers and bull fighters. He describes it as the “earth spirit of irrationality and death,” in his book of poetic criticism titled In Search of Duende. This form of pathos found in Spanish poetics emphasizes dark and mysterious undertones of creative impulses.

For Turkish poet Birhan Keskin, a famous line of the seventeenth century folk poet Karacaoğlan concretizes the theme of pathos: “Bir Ayrılık, bir yoksulluk, bir ölüm” (A separation, a destitution, a death). In a shared “Şiir Masası” (“Poetry Roundtable”) interview conducted by Deniz Durkuan with Birhan Keskin, Ezel Akay, Serenad Bagcan and Hakan Gercek published in Pul Biber, Keskin points out that these are three primary concerns in Turkish poetics, with the themes themselves originating four or five thousand years ago with the Sumerians. (…)”

Read the full review in the Bosphorus Review of Books May Edition.

Find out how I learned about Birhan Keskin’s work by scrolling down to my Editor’s Note here.

Birhan Keskin

Birhan Keskin, poet


Demystifying Poetry


It’s the tail-end of poetry month and I’ve decided to go off on a rant about poetry discourse. In America, people often assume that poetry can’t possibly be popular. Maybe if they came to Turkey, they’d change their minds. Here, people graffiti the walls with lines of Nazim Hikmet. But a shift is taking place in and around America. Just north of the border, Canada’s Rupi Kaur has shown us how huge Instagram followings for poetry can lead to book contracts. We also live in an era when pop-icons can hand-pick their own poets. Beyoncé collaborated with poet Warsan Shire to include spoken lines of poetry throughout her album Lemonade. Suddenly, it’s as if poetry can become something more than an isolated bookish art. Poetry loves new media, poetry loves sound recording, poetry loves the stage.

This month, year, decade, I’ve come across some efforts to legitimize poetry. Joshua Johnson’s podcast 1A recently aired a segment titled, “How do you know if a poem is good?” He invited guests Kevin Young, the poetry editor for the New Yorker, Tracy K. Smith, the 22nd U.S. Poet Laureate, Matthew Zapruder, the editor for poetry publisher Wave Books, and Danez Smith, the Lambda Literary Award for Gay Poetry winner to discuss.

No, a love of poetry is not akin to an odd fetish or a closeted drug addiction.

The questions were framed as if to give rise to a series of confessions: Who was your first? What got you into it? Why do you like this? Teetering towards … Aren’t you embarrassed by it? No, a love of poetry is not akin to an odd fetish or a closeted drug addiction. We don’t have to stigmatize it as such. We don’t have to hide it, nor are we obligated to represent all readers of poetry, when it is a highly personal form of art. I’ll be the first to admit it: I like poetry. Specifically, I like my own taste in poetry. Just like music, this is not a homogeneous art.

There’s a sense that poetry is not taught correctly and that if it were to be taught correctly, it would miraculously become popular. So typical. Blame the teacher. Can you tell I was a teacher? In the podcast, the guests suggest that teachers have kept poetry removed from our daily lives, forgetting that we use lines of poetry at funerals and weddings. Do we, though? The last few weddings I attended mostly involved impromptu toasts or roasts. If poetry classes were designed with the assumption that all of the students would become future poets, the same way engineering teachers see their students as future engineers, these doubts towards its relevance might disappear. But we can’t blame this on the teachers themselves. They are underpaid, overworked. No brilliant insider’s view of an “everyday” style of teaching poetry is any less offensive than an average teacher’s assumption that poetry might actually be removed from people’s daily lives. Developing a clever strand of poetry-lite is just condescending.

When prodded about the merit of poetry for laypersons, Tracy K. Smith says people simply have to “feel” poems to get them. But she follows this up with a more thorough explanation: it involves listening to the sounds of words, identifying how the poet used them, and connecting to their meaning. Kevin Young defended his role at the New Yorker, which Johnson calls an “upper-echelon” establishment, by saying that he would read the New Yorker poems in Kansas as a child. He calls the New Yorker (surprisingly) “democratic.” These are cases in the podcast when the poets didn’t want to bite on the bait. At least Young later asserts that we do bring our own framework to poetry when we identify its meaning. Going one step further, this suggests that a highly developed reader like Young will likely have a different impression of a poem than a non-reader of poetry. It is, to an extent, an acquired taste.

I don’t think poetry has to be “democratic” for people to like it. Zapruder’s comment that there’s a poem for everyone made sense to me because it implied that such a poem is NOT a poem for everyone else. I like Emily Dickinson’s riddles. I like Susan Howe’s esoteric cut-ups of Puritan speech morphology. I also like the biting decolonizing polemics of Amiri Baraka’s rhythmic poems. These are filled with clever wit and wordplay, and I like finding their layers of meaning. I didn’t attend an ivy-league university. That wasn’t a pre-requisite for liking poetry.

Poetry asks us to tune in with our mental powers, just as much as our feelings. We are linguistic creatures, and poetry recognizes this aspect of our nature. Poetry is a mixture of oral and written forms. It stands in this in-between zone of contemporaneous performance and studied composition. It combines high and low diction. It is the parasitic jester of all verbal and linguistic possibilities in the world. It is not a static art form, and it cannot be codified, either. Poetry is a malleable beast.

Intellectualism is not a crime!

Matthew Zapruder’s recent book, Why Poetry, also takes on the challenge to demystify poetry. I like that he refutes the notion that poems deceive. Again, I found myself adding a personal addendum to his point. It is as if he’s saying: poems don’t deceive; straight-talking politicians do. He also describes an in-between dreamlike state induced by poems, and he celebrates their material form, as language. Although its premise involves making poetry accessible to lay-readers, the entire book was like a easy-going fireside chat of the very same lectures on poetry that emphasize rhyme, meter, syllable stresses, metaphor, image, enjambment, etc, that these poets are blaming for “elitism.” Why can’t we just admit that poets are elitist in a sense, and that intellectualism is not a crime!

I don’t see why we’re picking a fight with the many possible tools that comprise the craft anyway, just to make the art more easy to approach or digest. These are tools that have developed over time, and just because they involve unfamiliar terminology, like “iambic pentameter,” doesn’t mean we have to negate their worth. Poetry offers a centuries-old tradition that may carry a lot of academic baggage, but it is not sealed off from time. I think the most important thing to emphasize when “demystifying poetry” is that it is a thriving art with longstanding traditions in all parts of the world, and the traditions and innovations of poetry are still unfolding. Poetry doesn’t belong to the dead, it belongs to the living.


What happened to me as I was writing about Don Quixote

DonQuixoteReading Don Quixote was a pleasure. Writing about it here in Istanbul in the most recent issue of the Bosphorus Review of Books became surreal. I became a detective. I ravaged all kinds of external sources including one of my favorites, Echevarria’s Open Yale Lectures on Don Quixote. Who was this Cervantes, this strange Spanish author fighting the Ottomans and staying captive in Algiers?

My mind started to draw a lot of parallels. Don Quixote seemed to be creating strange links between elements of my life that are otherwise disconnected. I don’t really know what to make of it. I think its a facet of my own quixotic “literary madness.” It’s when we start to see connections across the mediums: between things we’ve read or seen and the reality we’ve actually experienced or even dreamed.And this makes one framework melt into the other. I even dreamt I was releasing prisoners a few nights ago, just as Don Quixote does in one of the scenes.

The fact that Don Quixote goes off to live a romantic lifestyle that he read about sounds so familiar. I did the same by becoming an expat with dreams of writing my novel abroad. It’s not quite the same as a knight errant, but I think the source of inspiration is similar–it’s the inspiration wrought by my library. The heroes of my books, though, are usually the authors themselves.

But then when Quixote meets an arbitrator (I work for a law firm specializing in international arbitration), and the Captain Piedma travels to Istanbul as a slave (the city I live in, which sometimes feels like it has captured me), and a wealthy Moor named Zoraida goes to Spain (one of my closest friends in Istanbul is from Morocco), and when I started reading about how scholars spread news that Cervantes had worked on the Kılıç Ali Paşa Mosque (which is a five minute walk from my doorstep), I started to feel attached like an adoring Little Prince to a particular fox who warms his heart. And it also happens that a few of the most renowned philologists who have theorized the Quixote are Leo Spitzer and Erich Auerbach, both of whom were émigrés in Istanbul for a time to escape Nazi Germany. Even the theme of captivity happens to be something I touched on in my earlier studies on themes of Puritan literature (Mary Rowlandson) and my head looped back to that area of interest. It’s almost too much to bear for one little literary soul.

Am I living in my own Cervantine reality?

I just find it sad, strange, and unfortunate that in our time, the weight of thought control and book burning is felt more here in Istanbul than elsewhere. And to think our own sweet city is where people once escaped from such treatment . . .

For less wistful on the book please read my essay in the Bosphorus Review of Books.

Link round-up: mistranslation

We sometimes take comfort in knowing that we’ll forever be misunderstood by outsiders.


One of the first essays that really turned me on to translation–not as a practice, but as a kind of ‘genre’ of literary critique–was Borges’ essay on the translation of 1001 Arabian Nights.

The Thousand and One Nights by Jorge Luis Borges

Of course, the evocative and elusive essay by Walter Benjamin, “The Task of the Translator,” came soon thereafter.

The Task of the Translator by Walter Benjamin

While translation promises the noble pursuit of universal communication, more often we are such tribal, provincial, territorial creatures that our language resists transcendence–sometimes intentionally so.

We sometimes take comfort in knowing that we’ll forever be misunderstood by outsiders. And this applies not only to languages of nations, but to languages of different professions, languages of different races, and even language differences between generations.

One thing that has become clear to me, both from reading these essays and from living abroad and trying my own hand at translation, is that mistranslation is inevitable. Delightfully so!

For those with the necessary insider knowledge, mistranslations are a joy to unravel for the humor that arises from discovering the latent boundaries between different languages. I even find discussions on mistranslation entertaining to read. That’s why I’ve created a list of articles that take a stab at identifying and decoding mistranslations in some capacity.

Here they are, in no particular order:

Admittedly, this is just meant as fodder for nerdy amusement. I do realize, though, that such discussions are capable of starting holy wars when sacred texts are involved. I also know from editing translated book quotations that it is very easy to mince/distort the words of non-native speakers, who are often very important people (such as when people assumed that JFK made the err of saying “I’m a jelly doughnut” in German). This is when the humor turns sour. But, alas, that’s for another post/author/blog to discuss. I hope you’ve enjoyed my list. Add your own links in the comments, if you feel inspired.

xo, Erica


She (also) brought us “The End of Imagination”

This year brought us Arundhati Roy’s second novel, The Ministry of Utmost Happiness, which I have not yet read. She soared to the top of any publisher’s chart in the wake of her first novel, God of the Small Things, and then “disappeared” (for some) into her role as an activist, non-fiction commentator on politics. When people craved the artist, she narrated the facts. We should be grateful! I just finished reading her collected essays, The End of Imagination published in 2016 by Haymarket Books. What I’m about to write is rough–culled from memory–because I don’t have the time to go searching through my kindle for quotes or anecdotes found in the book. Then again, I never promised polished, perfect analysis on this site.


What a soreness it is to see how deeply entrenched we are in the same themes she wrote about starting nearly twenty years ago–nuclear arms races, displacement via multinational investments in hydroelectric power and dams that devastated the Indian landscape, crisis market economics, the Afghanistan War, and the longstanding impact of the Patriot Act and the War on Terrorism following 9/11. She honors Noam Chomsky in these pages and questions her role as an author with a deeply committed spirit of activism that does not look away. She distinguishes the importance of her role as a fiction and a writer of non-fiction, which she bemoans for falling into the category of activist-writing. Labels haunt her because her work, as any work of a brilliant author would, constantly defies them.

I found this collection profound and impassioned–urgent. How have we sustained this treacherous urgency for so long without apparent headway or resolution? Reading these essays lifted any veil that clouded my vision about the curse of neoliberalism. Where can I possibly start?

I felt relieved of some ignorance after reading this book. I have read North American tales of neoliberalism brought to us by Naomi Klein and Noam Chomsky. I have read European theoretical critiques brought to us by Guy Debord, Tikkun, Franco Berardi, Zizek, Serres, Baudrillard, Deleuze and Guattari, but these didn’t draw me in like Roy’s pages. The approach is different. Testimonies and pure blasphemy, not theories, are narrated to us as a comprehensive story in Roy’s text. Her wit ascends proportionately to the horror. She paints a picture of liberal ignorance, freedoms being stripped away, the gloss of democracy that maintains perpetual warfare, and so on and so forth.

When she questions her role as an artist, she is questioning a thousand-year-old caste system. These are lived injustices, that she gives testament to–not by accident, but by an investment in opening herself up to the social wounds at her disposal. She does not suppress them for her own benefit. She is not one to hide her head in the nearest hole or gloss over the havoc wreaked upon individual lives for the sake of her educated audience. Her writing stings and sings. She acknowledges her implication in injustice while with such a candid outcry and binds herself to the cause of poor people and the environment by unraveling tight knots of hypocrisy.


She reminds us that nowhere on paper can we find the economic benefits that hydroelectric building projects bestowed upon India. She is waving the non-existent reports in the thin-air and counting up the lives of the displaced–all from the lower strata of society–now virtually disappeared as an interest group. Resettlement promises were not kept and the losses merely place those people who depended on their small farming for survival–on lands now immersed by a reservoir–in perpetual limbo without relief.

Now, if you’re following the news, these hydroelectric dams are guaranteed to investors in Brazil, causing very similar indigenous strife for the sake of very dubious benefits to society, considering their guaranteed deforestation and pollution of the rain forest and its watersheds. The social benefits of the developmental-craze sweeping across “developing countries” has proven false–again and again. The same goes for Turkey, where I currently live, with its debt-driven megaprojects.


Roy reveals the hypocrisy of Nelson Mandela to remind us that market economy politics is not a sacred sphere. Even our saints could not withstand its pressures. It is a rigged, delusional battle of unjust promises to wealthy investors backed by militaristic regimes. The apartheid continues under the false guise of a democratic market economy (an oxymoron).

The insistence of her words gave my own vision of dissent new life. I found it acceptable after reading this book to call myself an anti-American. To articulate the precise moments when the government and its henchmen conflate its policies with romantic ideals to relieve itself of accusation. To recall that secretary of state Madeleine Albright could write off Iraqi children as collateral damage, a simple calculation error, and brush it aside as a necessary part of the process. So often, I don’t know how to speak about these things, let alone how to demand justice. She offers up her own voice on behalf of others. She is generous in that regard. She wants us to take her passion and let it ignite our own.

What are the crimes she cries out against? Crimes of globalization, i.e., that the global market economy is simply a more efficient, updated form of imperialism. Guarantees for investments can wreak havoc by displacing millions of poor citizens with the click of a mouse. Instability and crisis are not merely symptoms, but strategic tools in this system of distraction. The military is the backbone to the economy. Things we’ve heard before–but she reminds us that we need to pay attention, for the power to resist lies in public outcry.

She reminds us that the Taliban was in part a U.S. invention because Afghanistan had been primed and stoked to become more zealous in its religious opposition of communist Russia, as a ploy by the U.S. This was back in the 1970s. She articulates with ease how weapons are sold to both sides of an argument by the U.S. These are not details to overlook and write off as coincidental marginalia. Her book gives a vision of what it means to connect the dots, and to dedicate oneself to caring, to speaking out about what interpretation tells us.


She details how terrorism is used as a blanket term to crush non-aligned ideologies, beliefs, critiques, protests, etc. This manipulative rhetoric was devised by the U.S. and exported to developing countries. She describes how this occurred in India with its armed backlash against Muslims and it fittingly describes the situation in Turkey, where the military coup attempt was followed by an exploitative system of mass-jailings, firings, and etc. to initiate an educational, financial and political restructuring of the country to benefit the wealthy few. All in the name of democracy.

So I read it with my mouth agape in astonishment and I suggest you do the same.



On American sexism of late

When Hugh Hefner died, I didn’t shed a tear. Hugh Hefner was easy to ridicule and ignore for the most part. I tried to ignore the cringe in my gut when his face appeared in magazines. Turn the page. Men who lead harems are considered powerful by some standards–those of likeminded men. But by other standards–those of many women–these men are considered if not outwardly, then inwardly inferior. They are making up for some deep, gaping inadequacy. Trump’s small hands became a symbol for this kind of inadequacy, because as the wive’s tale goes: hand size correlates. This is the standard women’s interpretation, is it not?

Now what about Harems? Or the modern American capitalist version: the Playboy mansion. Of course harems are a separate culturally specific phenomena–I’ve toured Topkapı Palace, I even live in Istanbul. But I mean the compounds of women, collected as property, that seem to symbolize women’s dependence on male taste, wealth, and status. Oftentimes the male figureheads of such compounds are double or triple the age of their women property. The age-gap gives the entire arrangement an air of uncanny pedophiliac impurity. A kind of geriatric flavor, in which the future death and linked inheritance of a wealthy individual becomes a fetishized, sexualized commodity in and of itself. The women inside such a harem compete for power linked to their sex appeal. The women inside probably feel powerful, too. Their function is to oppress other women almost as much as the men themselves, just by their sheer quantity and by the harem’s internal hierarchy.

But women in a harem don’t determine the power. They don’t own it. They just profit off of it. Some people say these women should not be blamed. We say women should not be shamed for turning into parasites of the swollen patriarchal system. Those women are needy, too, just like women who choose self-determination. Well, if not blamed, what about educated? Would these women still exist if women’s consciousness on the whole could improve a bit?


Hugh Hefner seemed to choose duplicates of the same woman-type. Hugh Hefner perpetuated the blond Barbie-like Pamela Anderson look. Women who find Hugh Hefner’s system oppressive may also have a distaste for that look, like I do. It is likewise a very racially specific look. My impulse is to defend myself against it by pointing out its flawed sense of beauty: it’s fake, it’s exaggerated, it lacks nuance, it lacks character, it lacks eccentricity, it’s narrow minded, it’s cliche, it’s formulaic, and etc. People compare women with this look to thoroughbreds, pieces of meat, isolated body parts–like a piece-of-ass, or other ways of seeing that are perhaps more familiar to wealthy people who are attuned to the monetary values and graded qualities of their possessions, like the percentages of stock indexes. People want to place beauty into statistical models, percentages, ranking systems and other capitalist ways of thinking. Beauty competitions serve the same function–women are compared, weighed, measured, eliminated, made scarce, and more or less commoditized.


What else? This Harvey Weinstein guy from Miramax is suddenly “exposed” in the media. High-profile women had been holding off for years. This is the harem of Hollywood. Women who hadn’t been a victim of his antics denied even knowing about his sexist bullying. He has been called “smart” and “manipulative” by women who apparently disapprove of him. Like a cunning fox? Don’t give him that credit. Don’t excuse him. He was a producer in a position of power who used this power to oppress women by way of a kind of sexual initiation or rite of passage. Some women refused, but they also chose avoidance until now.

Avoidance is an easy coping mechanism. It makes sense in a way. If you have enough of a foothold to stand upright in a career, independently, then you can ignore the dirty politics influencing others around you. You cry tears with the women who experienced it the worst, you feel for them, but you do not necessarily financially support or go out on a legal limb and testify on their behalf. Many women choose not to expose themselves on behalf of their suffering sisters. But real support requires this courage. Real anti-sexist support is material in the sense that it legally protects or financially benefits, or takes care of another’s basic needs, or creates systems that enable that kind of support. These forms of support can bring stability for other women and ourselves. We need to form safety nets, safe spaces, and networks.  


Avoidance is a way of accepting the system of relative advantage. By this, I mean politely choosing to profit individually. It’s what I assume women of color are actually complaining about when they complain about white women. All women are struggling to “stay afloat.” When women should be building safety nets for one another, across racial lines, across age lines, across cultural lines, disability lines, across so many lines of difference, they instead play this game of avoidance and subtle one up(wo)manship. Women have the power to organize and ensure that the fall to the bottom is not so catastrophic. Women can become mentors, leaders, and organizers. One specific example is planned parenthood. Don’t let men decide its fate! I often wonder where are the women’s versions of “fraternal orders?” Where are the women who show willingness to financially and materially support one another?

Women traditionally do this in the private sphere. They rear families. They contribute all of their time and energy to the interests of others. Perhaps the idea of transposing that mindset into the public sphere seems too inhibiting. Perhaps women just want to escape the care-taking role altogether. Or perhaps their care taking role has always been independent all along, in a sense. Mothers can often singularly dominate without question. Perhaps that is what many women crave in their public lives as well. A kind of independent domination of their own sphere of influence.

In other words, it seems that women often prefer gaining entrance onto sinking patriarchal ships–to prove their equality in comparison to men. They’d rather pursue this than practice equality among one another. I often crave inter-gender equality and respect. Such equality depends on the more difficult alternative of building a ship, hiring crews, and captaining women-owned fleets. Systemic sexism would not be included in the by-laws.


So many women did not speak out about Weinstein until now. Why now? I didn’t follow this issue that closely, but let’s look at the president. This seems like a case of diverted energy. Aren’t so many women just angry about the current president? Just replay the tapes of Trump’s voice and remember what a heinous individual he is toward women. Just watch him place his hand on his daughter’s ass again. If we can’t oust the biggest sexist in power, then at least we can focus on one at the heart of the entertainment industry of Hollywood. At least we can join our Women’s March on Washington. We can get angry at his rhetoric toward women and lash out at so many other sexists because they are around us everywhere. We have a constant reminder in the white house of how much work is left to be done.

But what if Hillary had won the election? Then what would’ve happened? Let’s rewind. Obama won the election twice. This did not take away police brutality. This did not stop systemic racism. Rotating figureheads in or out of leadership roles creates symbolic, not systemic change. We should try to understand the difference, because we should place our bets on the latter. We need to take ownership, not just fill the roles of a system that has been in place for centuries.

Symbolic change is based on flimsy outward notions of identity–the same labeling and profiling mechanisms that racism depends on. Systemic change is based on seeing beyond the limited careers of charismatic individuals. What inspires me still about the authors of the U.S. constitution is their self-awareness about authoring systemic change. I don’t understand why our system doesn’t have a simple safety net to avoid politicians like Trump in the form of a minimum entrance exam regarding foreign and domestic policy. Politicians should have to pass an admissions test to enter politics. This is just one minor example of how we could strengthen the system. But we should all remember that Trump got into power due to a systemic change. Citizens United eliminated caps on private campaign funding. This is an example of how easily our democratic safety nets can be removed. Taking this into account, systemic, not symbolic progress should be the primary target for women.

I honestly haven’t done much to research my own blog topic. This one has been off the cuff. Feel free to add your thoughts or resources in the comments.







On Elinor Ostrom’s no fuss solution to the Tragedy of the Commons


To me, Elinor Ostrom’s ideas seem normal and reasonable. They don’t require too much of a stretch of the imagination. In fact, they seem so strikingly ordinary, that they could easily be overlooked out of context. Yet, our time is marked by the complex quagmire of globalized neoliberal market economics that has gained almost unchallenged traction. In this context, her intuitive and relatively simple ideas are considered revolutionary.

What she is most known for is her so-called Nobel Prize in Economics. To be more specific, she won the Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel of 2009, as there is technically no prize devoted specifically to economics. Elinor Ostrom was an odd choice, considering she was an outsider to economics. She was more well known for her work in political science and ecology; she was a woman whose ideas do not fall neatly into any ideological camp. Yet, she had essentially devised a template or a “design” to deal with the “tragedy of the commons,” a problem which presupposes the inability of civilizations to manage commonly held resources without depleting or destroying them. This theory was promulgated by ecologist Garret Hardin, who popularized the idea of overpopulation as the leading difficulty facing humankind with his famous 1968 paper entitled “The Tragedy of the Commons.” However, Elinor Ostrom found many examples of people managing commons without such calamitous outcomes through her empirical observations and related scientific research.

She derived from her research eight underlying design principles which she had observed in communities in Africa that did not exhaust their commonly held resources:

8 Principles for Managing a Commons

1. Define clear group boundaries.

2. Match rules governing use of common goods to local needs and conditions.

3. Ensure that those affected by the rules can participate in modifying the rules.

4. Make sure the rule-making rights of community members are respected by outside authorities.

5. Develop a system, carried out by community members, for monitoring members’ behavior.

6. Use graduated sanctions for rule violators.

7. Provide accessible, low-cost means for dispute resolution.

8. Build responsibility for governing the common resource in nested tiers from the lowest level up to the entire interconnected system.

These principles sound rather quotidian to me. They are fair, egalitarian, respectful, diplomatic, inclusive, and practical in that no abstract models are required to implement them. They are spun from the fiber of common sense. Arguably, the only reason such principles could be considered revolutionary is because of how detached, abstract, and obscure modern economic theory has become. It is loaded with jargon, indoctrination methods, and complex calculation models that require a steep learning curve just to approach an everyday topic — how resources are managed. Milton Friedman’s Chicago School of Economics theories (which Naomi Klein calls free market fundamentalism in her book The Shock Doctrine) have prevailed so much that their linked neoliberal ideology has become naturalized as the status quo. Plenty of criticism from economic thinkers has targeted this ideology, but for Derek Wall, few critics have broken ties with it so fully as Elinor Ostrom because of her ability to think beyond markets and states. The fact that she is able to think outside of the “norm” of these prevailing theories makes people consider her work incredibly shocking, hopeful, and influential.

It should not go without saying that her work derives directly from the third world — from “under-developed” countries and their local communities. Such an approach veritably flips the teleology of “progress” on its head even though her theory has been upheld by the progressive West as the next step forward for the dilemma of the “tragedy of the commons.” In fact, she honored the wisdom of locals for its potential to protect their lands more effectively than governments. Her premise is reinforced by a recent study on how indigenous Peruvians are more effective at managing and conserving land than their regulatory government.

All in all, her theories are literally closer to home than neoliberal models of consumer capital, derivatives, markets and shares, states and all of the related terminology that constructs a grand farce of “economic reality” in our time. Her work serves as a means to call a spade a spade. She reminds us that common resource management is, in its simplest terms, a socially-constructed set of rules and determinations made by and for the people who depend on those resources. It does not gain strategic, ethical, or economic superiority through the adoption of a top-down abstract management ethos that drowns us in a complex lexicon designed to implement our social conditioning as market-based consumers by means of manipulative puppet-mastery.

On “Husbandry,” as a form of conviction in writing

I believe Susan Sontag was fully cognizant of the verb form of the word “husband” when she wrote her piece, “An Ideal Husband.” To husband means “to manage prudently and economically,” or to “use sparingly” according to Merriam Webster’s dictionary. These attributes seem suited to stoics or ascetics who define their lives by what they have not exploited, rather than by what they have. Concision is often cited as hallmark of good writing these days. Perhaps Sontag used the word “husband” to suggest that we should apply the mantra “kill your darlings” to the moral sphere as well as to the words themselves (heaven forbid we judge the “content” as well as the “form”), which might put a halt to our contemporary proliferation of maximalist and autofictional writers.

In “An Ideal Husband,” Susan Sontag divides great writers into two categories–husbands (those writers with a moral conscience and a sense of civic duty) and lovers (those who offer the short-lived feverishness and excitement of madmen). She claimed in 1963, that the modern world was filled with lovers, but not enough husbands, unlike in other periods of literary history when the opposite was true. Then she goes on to describe how Albert Camus nearly fit the bill of an “Ideal Husband” as a writer.

Though the lopsided categorization excludes even a nod to women as possible “great” literary figures, I’m intrigued by her classifications because I realize I share her thirst for a moral conscience in writing. I crave people whose inherently intertwined roles as an artist and a person are not arbitrary or loose connections that we should counter-intuitively compartmentalize. I seek a unity of purpose in authorship and in life, and a foresight which does not exclude others through frenetic impulse or an advertisement of desire at the expense of others.

Authors such as Shruti Swamy, W.G. Sebald, Michael Ondaatje, and even Susan Howe appeal to me for their qualities as good “husbands” in that I feel invested in their deep conviction in simultaneous aesthetic and moral thresholds that bind (or bound) them to their history and personal complicity in our time.

For me, moral consciousness depends on the ability to reflect upon our historical role and our place in the world amidst others not in spite of them. In order to do so, I feel that writers must depend on their ability to translate across divides of time, consciousnesses, and linguistic and cultural norms, and whether this crossing derives from the pith of the language, or the divestment of one’s originality for the sake of testimony–to give valor the unseen, lost spark in a footnote (or ideally, to accomplish both), it depends on solidarity with others, all of them. I feel an attraction to writers who navigate the sharp divisions of time, place, and self-interest that otherwise bind us to our various forms of narcissism.

A bond is never solely a comfortable relationship. To be bound is the condition of relative, limited freedom, which denotes sacrifice of possibility in order to maintain a level of comfort. Possibility is the antithesis to sanity and to really embrace it responsibly requires endurance, discipline, and sobriety, even, since possibility, contrary to its stated claims, is a limiting factor which also binds us. Each possibility is achieved by the exclusion of others. When one is bound by history, or bound by a deep investment in respect for humanity and the natural world, a state of grace lingers in that person’s works. This is how an author who is a “husband” with a long-term, purposeful conviction, beyond temporary pleasure can be trusted.

Naturally, the risk of writing which derives from moral conviction is to lose sight of the temporal, sensual, aesthetic pleasures that surround us in favor of aphorism. Let the subtle sounds of wind blowing through the tree leaves and the breath-ornamented silences between strangers remind you who you are and what unseen rifts there are to cross. Knowing pigeons, too, are watching us from the boughs of those trees. We never go unseen; we are always passing through one register or another.


“Apocalipsis de Solentiname” by Julio Cortazar

In an attempt to revive old literary studies of mine, I’ve divided a paper I wrote comparing two of Julio Cortázar’s stories into two separate articles. You can find my companion piece on Cortázar’s “Blow-up,” (1959) here, in the Bosphorus Review’s latest issue. The interesting thing about that story, for me, is that nearly twenty years later, Julio Cortázar seemed to have recycled the premise of “Blow-up” and updated it when he wrote the story “Apocolipsis de Solentiname” (1976), which I write about here.

In “Apocalipsis” the import of historic testimony, which was absent from “Blow-up,” bridges his characters’ isolated shock in a way that asserts his real symbolic political solidarity with the Latin American revolutionary collective (in his writing, the purview of individual experience has transformed into historical testimony). “Apocalipsis” directly engages with a historic period of time leading up to the FSLN overthrow of the Nicaraguan government during the Revolution in 1979. It provides a harrowing vision that prophesies the forms of torture other horrors that the people of Nicaragua would be subjected to. In addition, it is an important example of an author responding both to public criticism and political tragedy through a work of art in an attempt to express political solidarity with the oppressed while furthering his revolutionary literary aesthetic.


Julio Cortazar in Solentiname

In “Apocalipsis,” Julio Cortázar returns to his representation of the photographic process as a means to rupture bourgeois consciousness. In this story, Julio Cortázar (the fictional protagonist whom I will refer to as Julio) travels to a press conference in Nicaragua. The story mimics historical truth because all of the characters in the story are in fact drawn from his real-life experience of attending a similar press conference in Nicaragua. Cortázar writes about the questions that are raised at the press conference: “why don’t you live in your own country, why was the film of Blow-Up so different from your story, do you think a writer ought to be politically committed?” These questions are also questions that the story “Apocalipsis” demonstratively responds to.

For the answers to those questions, we ascertain from his depiction of violence that Cortázar did not live in his country due to fear of the military regimes that plagued Latin America for lefitsts, the film Blow-Up was different because Antonioni did not perceive (or wish to portray) the political resonance of the story, and Cortázar does indeed believe that a writer should be politically committed. While Cortázar expresses his disparagement for the repeated questions people expect him to answer, i.e., “don’t you think that down below you wrote too obscurely for the masses?” he also responds to them by sharpening his ideological message in support of revolutionary solidarity, by the end of the story.

In “Apocalipsis,” Julio visits a small town where his poet friend Ernesto Cardenal lives. He helps the locals to sell their paintings. Several instances of foreshadowing unhinge the travel-diary-like narration. While praising Enesto Cardenal, he writes, “the jackal may howl but the bus moves on,” which as Alberto Moreiras points out in his essay, “Apocalypse at Solentiname as Heterological Production,” has metaphoric significance. The passage briefly hints at one’s empathy and the ability to feel pain at a distance. Moreiras writes: “The jackal in Cortázar’s text foretells an extraordinary act of ectoplasmic translation.  A jackal is the Central American animal whose howling culturally translates the howling of the wolf in other latitudes: ominous, portentous” (160). Later, in the airplane, Julio has a flash of anxiety when he jokingly comments that their Piper Aztec, “was in fact taking us straight into the sacrificial pyramid” (14). These hints of warning destabilize the naively optimistic rendering, just as the narrative destabilization in the beginning of “Las Babas” planted clues to the direction the story would take.


When Julio arrives at their destination, he snaps a photo with a Polaroid, and takes note of how strange the image appears as it develops: “one of those cameras that on the spot produce a piece of sky-blue paper which gradually and miraculously and Polaroid begins slowly to fill with images, first all disturbing ghost-shapes and then little by little a nose, a curly head of hair” (14).  He de-familiarizes the photographic process by writing as if he is naïve to it:

For me to see emerging from nothing, from that little square of blue nothingness those    faces and smiles of farewell filled me with amazement and I told them so.  I remember asking Oscar what would happen if once after some family photo the blue scrap of paper suddenly began to fill with Napoleon on horseback, and Don Jose’s great roar of laughter . . . (14)

The surrealistic sense of imaginative horror in these initial passages casually disappears beneath the mention of friendly laughter. The momentary dream of horror is suppressed by the reality of comfort and peace among friends, a juxtaposition that again foreshadows one of the central themes of the story.

Cortázar highlights Julio’s status as a visitor in order to situate him within a different class than the others. He is intrigued and unfamiliar with the paintings he sees that are made by the people of the village: “. . . and I saw the paintings in a corner, began to look at them.  I can’t remember who it was explained they’d been done by the local people, this one was by Vincente, this one’s by Ramona, some signed, others not, yet all of them incredibly beautiful, once again the primeval vision of the world…” (15). Julio sifts through them, stunned by their depiction of a world full of plants, work, religion, and natural beauty.


In following with custom, Julio attends Mass and discusses how the service portrays the instability of the lives of the people in the town:

[Mass] which that particular day was Jesus’ arrest in the garden, a theme the people of Solentiname treated as if it dealt with them personally, with the threat hanging over them at night or in broad daylight, their life of constant uncertainty not just on the islands or on the mainland and in all of Nicaragua but also in nearly the whole of Latin America, life surrounded by fear and death, life in Guatemala and life in El Salvador, life in Argentina and Bolivia, life in Chile and Santo Domingo, life in    Paraguay, life in Brazil and in Colombia. (15)

Cortázar intentionally extends the solidarity of his story’s political outcry to encompass the lives of all Latin Americans. His political aim is to connect the experience of Latin Americans as a singular, inclusive experience.

Before Julio leaves the island community, he decides to take photographs of the paintings he admires in the community room. He details his efforts to photograph the paintings: “I went through photographing them one by one, positioning myself so that each canvas completely filled the viewer” (15). The photographic medium extracts the paintings from their time and place, allowing Cortázar to transport them back to Paris. When he writes: “as luck would have it, there were exactly the same number of paintings as I had shots left, so I could take them all without leaving any out, when Ernesto came to announce the launch was waiting,” he gives sense that there is some kind of divine necessity in his capturing these images (15).

Again, a minor fissure seeps into the text when Julio explains to Ernesto Cardenal that he took photographs of the paintings: “he laughed, painting-snatcher, image-smuggler. Yes, I said, I’m carting them all off, and back home I’ll show them on my screen and they’ll be far bigger and brighter than yours, tough shit to you” (15). Cortázar positions Julio in a joke about imperial theft enacting the way bourgeois tourists take photographs in order to collect memories from afar. As Walter Benjamin describes in his essay, “Art in the Age of Mechanical Reproduction,” “technical reproduction can put the copy of the original into situations which would be out of reach for the original itself” (Work of Art, 221). Julio thinks that the photos will later become a fixture of his comfortable Parisian home.

When Cortázar returns to Paris, one of the first things he decides to do is to develop the film, and once he picks up the photographs, he prepares to view them on his projector, just as he had planned. He expresses the naive excitement of a tourist about to relive the beauty of a distant place they’ve travelled to. Instead, what he sees betrays his expectations. A boy he photographed appears with a bullet in his head, shot by an officer and faced with other men with machine guns. He describes both the boy and Solentiname being “hemmed in” by “water and officialdom” (16). The boy is “hemmed in” by the photographic medium itself, locked into place in the form of a testimonial image, and Cortázar’s renewed vision of the place appears “hemmed in” in the middle of a military attack.

Julio’s emotions bubble up and he thinks that he must have mistakenly taken someone else’s photographs. Then he sees a photo taken of the Mass that confirms that the photos belong to him. He scrolls through the complete set of photographs, seeing a series of images of the torture of a naked woman, a mass grave in a mine, and a car exploding. The images encompass different Latin American sites where history plays out as a violent rupture to the bourgeois conception of the world, “I carried on pressing and pressing between flashes of bloody faces and bits of bodies and women and children racing down hill-sides in Bolivia or Guatemala, suddenly the screen flooded with mercury and with nothing and with Claudine too, coming in silently” (16). When his companion, Claudine, enters the story, he is speechless and leaves so that she can look at the photos alone. With a sense of irrational conviction, he states: “…we never know how or why we do certain things when we’ve crossed a boundary we were equally unaware of” (17). Julio goes to the bathroom and experiences a physical response to the state of shock that the photographs put him in.  He vomits.


Poet Ernesto Cardenal conducting mass in Solentiname

This scene recalls Roberto Michel’s scream in “Blow-up,” each instance of hallucinatory violence produces an uncontrollable bodily response. Then Julio notices that Claudine isn’t screaming. The fast juxtaposition of responses places the hellish visions like a weight upon Julio, but not on Claudine. The horror that opened itself up to him seemed to happen by way of an gap in reason that can’t be explained. He writes: “I wasn’t going to say anything to her, what was there to say now, but I remember vaguely thinking of asking her something really crazy, asking if at some point she hadn’t seen a photo of Napoleon on a horseback. I didn’t, of course” (17). When the narrator returns to his mention of a dream in which Napoleon would appear as if to justify his own unreliable, hallucinatory mind. For Napoleon to appear would no longer remain an implausible farce as it was when the motif appears in the beginning of the story. The recurring motif reminds the reader what has changed, which is to say the story produces two simultaneous frames of reality that create dissonance in their mutual independence. This mutual independence forms a strangely counter-intuitive truth because though it seems plausible that a bourgeois could comprehend violence, the bourgeois subjectivity relies on its wholly reified consciousness towards violence.

In comparison to “Las Babas del Diablo,” “Apocalipsis de Solentiname” produces a much more direct symbolic message. Cortázar does away with the narrative meditations on medium, opting instead to import a sense of historical realism. Cortázar asserts that a Latin American writer must express solidarity with the condition of the people, “He must, metaphorically or actually enter the street, and in Latin America this street becomes more cluttered with barricades, snipers and painful confrontations every day” (Politics, 539). Cortázar uses “Apocalipsis” as a means to symbolically “enter the street.” His story serves as a testimony of his empathy at a distance through a willful unveiling of clear and realistic horror as though it were an irrational dream. Cortázar uses the symbolic weight of his status as a well-known author and he uses the revolutionary struggle in Nicaragua as a backdrop to his portrayal of widespread violence throughout Latin America that produces shock, not indifference. He maintains his fantastical mode of representation by inserting irrational hallucinations as a liberating breach in logic: “the photographic medium becomes a privileged vehicle where his avant garde aesthetics coincide with the weight of visual testimony” (Russek, 2).


Photography slices reality from its context and puts separates it within a newly established frame.  For Benjamin, photography “penetrates deeply into its [reality’s] web” (Work of Art, 233).  In Cortázar’s use, this web is immersed in historical violence and otherwise invisible to the countenance of his bourgeois subjects. In “Apocalipsis” the violence that appears as a result of the developed photographs is explicit and the reader knows exactly what Cortázar’s insertion of violence refers to. The violence is historically specific although no actual massacre had taken place in the community of Solentiname at the time Cortázar wrote the story. Later, the Nicaraguan revolutionary movement by the Sandinistas would progress, and a similar incident of military slaughter would happen at Solentiname, which makes the story prophetic. Either way, military violence had become common in Latin America, which is why Cortázar gestures that the violence he sees is something shared across Latin America.

In both stories, Cortázar interrogates questions of asymmetrical relationships of power akin to Mary Louise Pratt’s concept of “contact zones” which are defined as the “social spaces where disparate cultures meet, clash, and grapple with each other often in highly asymmetrical relations of domination and subordination” (qtd. Russek, 4).  While “Las Babas del Diablo” remains localized in a Parisian setting, in “Apocalipsis,” the disparities of power take on global proportions. “Apocalipsis” captures a wider totality of the many different ways that people experience disparity including cultural imperialism, class differences, and technological disparity.

Cortázar’s revolutionary struggle is still at stake, and his emphasis on political commitment is relevant now just as it was when he wrote “Apocalipsis” in the 1970s. The question that remains is how one might draw from Cortázar’s strengths in forming a revolutionary literary aesthetic while endeavoring to push them further towards material praxis as opposed to residing in a merely symbolic plane.

Cortázar did incur direct political consequences by writing “Apocalipsis” because the military junta in Argentina at that time censored the publication of the story. Presumably, its visible testimony to militaristic violence struck a nerve. The potential for the testimonial use of images culminates in Benjamin’s description of the intersection of aesthetics and politics, “All efforts to render politics aesthetic culminate in one thing: war” (Work of Art, 241). One of Cortázar’s strengths is in his discovery that representations of violence need not hinge on a rational portrayal. His inclusion of the irrational appearance of violence through photography and the utter shock it produces exposes bourgeois denial and reintroduces a phenomenon that has been de-familiarized. He recalls a time when photographs were shocking. He extends horror to the spaces where it belongs.  For Moreiras:

The greatness of “Apocalipsis resides in its capacity to affirm a certain constitutive impossibility for the work of art to engage in ontological constructions while at the same time also affirming that the work of art depends, in its very constitution, on such constitutive impossibility. This has serious consequences regarding the possible effects of literature on political thinking and the social articulation of cultural work (159).

Cortázar’s effort to use literature to expose the dialectic positions his revolutionary aesthetic in a Marxist-Hegelian tradition.  However, he did not wish to write what became known as “proletarian literature” because he felt that it had become too conventional. Writing itself, for Cortázar demands a revolutionary approach, which aims toward future forms by defying rational thought and endeavoring to reintroduce diminishing political praxis through an aesthetic means. Cortázar ultimately portrays self-critique as a precondition for revolution in his story “Apocalipsis.”  This story stems from earlier meditations in “Las Babas” on the bourgeois subjective complicity in relation to violent circumstances.  These two stories symbolize the preliminary break down of bourgeois consciousness that is required for revolutionary praxis.

Further Reading

To read the story in full along with Julio Cortázar’s own lecture on the story check out LitHub’s article, “Julio Cortazar Teaches a class on his own short story.”

Works Cited

Abrams, M.H. and Geoffrey Galt Harpham. “Aestheticism.” A Glossary of Literary Terms. 10th ed. Boston: Wadsworth, 2012. 3-4.
Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations: Essays and Reflections. Trans. Harry Zohn. New York: Schocken, 1968. 217-251.
————-. “The Storyteller.” Illuminations: Essays and Reflections. Trans. Harry Zohn. New York: Schocken, 1968. 83-109.
————-. “The Task of the Translator.” Illuminations: Essays and Reflections. Trans. Harry Zohn. New York: Schocken, 1968. 69-82.
————-. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge: Harvard UP, 1999.
Castro-Klarén, Sara. “Cortázar, Surrealism, and ‘Pataphysics.” Comparative Literature, Vol. 27, No. 3 (Summer, 1975), 218-236. JSTOR. Web. 22 March 2012.
Cortázar, Julio. “Apocalypse at Solentiname.” Trans. Nick Calstor. Index on Censorship, Vol. 8, No. 1, 1979. Google. Web. 3 April 2012.
————-. “Blow-Up.” Blow-Up and Other Stories. Trans. Paul Blackburn. New York:  Pantheon, 1967. 114-131.
————-. Interview with Jason Weiss. Writing at Risk: Interviews in Paris with Uncommon Writers. Iowa City: U of Iowa P, 1991. 39-56.
————-. “Politics and the Intellectual in Latin America.”  Trans. Mary E. Davis. Books Abroad, Vol. 50, No. 3 (Summer, 1976), 533-540. JSTOR. Web. 22 March 2012.
————-. “Some Aspects of the Short Story.” Trans. Naomi Lindstrom. Review of Contemporary Fiction, Vol. 3, No. 3 (Fall 1983), 25-37. EBSCO. Web. 22 March 2012.
————-. “The Fellowship of Exile.” Alltogether Elsewhere: Writers on Exile. Ed. Marc Robinson. Trans. John Incledon. Boston: Faber and Faber, 1994. 171-178.
Kelman, David. “The Afterlife of Storytelling: Julio Cortázar’s Reading of Walter Benjamin and Edgar Allan Poe.” Comparative Literature, Vol. 60, No. 3: 244-260. EBSCO. Web. 22            March 2012.
Lukács, Georg. History and Class Consciousness: Studies in Marxist Dialectics. Trans. Rodney Livingstone. Cambridge, MIT: 1971.
Moreiras, Alberto.  “‘Apocalypse at Solentiname’ as Heterological Production.” Julio Cortázar: New Readings. Ed. Carlos J. Alonso. Cambridge: Cambridge UP, 1998. 157-182.
Pagano, Adrianna S. “On Official Histories and Subversive Pedagogies in Cortázar.” Translation and Power. Ed. Maria Tymoczko and Edwin Gentzler. Amherst: U of Massachusetts P, 2002. 80-98.
Russek, Dan. “Verbal/Visual Braids: The Photographic Medium in the Work of Julio Cortázar.” Mosaic: A Journal for the Interdisciplinary Study of Literature. Winnipeg: Dec, 2004. Vol. 37, No. 4: 71-87. Literature Online. Web. 22 March 2012.
Tcherepashenets, Nataly. Place and Displacement in the Narrative Worlds of Jorge Luis Borges and Julio Cortázar. New York: Peter Lang, 2008.