Topics — I. The Irreversible ( & mercy ) / II. Selfhood / III. Love as a Discipline / IV. Sanctuary & Cage / V. The Inscribed Verdict / VI. Tension as Appetite & Play / VII. Memory Against Oblivion / VIII. Idealism in Resistance / IX. Self-Exposure / X. The Forbidden Beloved / XI. Unkept Keeper / XII. Aesthetic Attention / XIII. Intensity / XIV. The Vocation of Community-Tending / XV. Faith & Damnation.
What the fuck is this, Nell ? — A peripheral self-study in effacement and attachment issues. A patronizing assignment, yet a gift nonetheless.
Note — There is a substrate which I have not included: grief, loss, and longing. It has no heading of its own because every territory here is a transformation of it and/or in dialogue with it. Grief faces the foreclosed; longing faces the unreachable. They are the same ache pointed in opposite directions, backward and forward, two faces of a single loss. For the same reason, treat the categories as doors into one room rather than as separate rooms. They are angles of approach, and any work that enters under one of them will answer, if you ask it, to several others.
I. THE IRREVERSIBLE ( & mercy ) / The foreclosed; the deed that cannot be unmade.
( permanence is a property of states, whereas irreversibility is a property of transitions. the first asks ❛ will it stay? ❜ while the latter asks ❛ can you go back? ❜ )
Film: La Jetée, dir. Chris Marker
Film: Irréversible, dir. Gaspar Noé
Manga & anime: Land of the Lustrous
Musical: Anaïs Mitchell, Hadestown
Fiction: Nietzsche, Thus Spoke Zarathustra, Part II (“On Redemption”)
Nonfiction: Vladimir Jankélévitch, Forgiveness and L'Irréversible et la nostalgie
Nonfiction: Hannah Arendt, The Human Condition, the chapter on Action
Music: Arvo Pärt, “Spiegel im Spiegel”
Poetry: Robert Frost, “The Road Not Taken”
Visual Art: Roman Opałka, 1965 / 1 to infinity
II. SELFHOOD / Transgression, the self imposed by others, self-erasure, self-expenditure, sacrifice; the double; metamorphosis.
Fiction: Clarice Lispector, The Passion According to G.H.
Poetry: Rimbaud, A Season in Hell
Visual Art: Ana Mendieta, Silueta series
Performance Art: Marina Abramović, Rhythm 0
Nonfiction: Georges Bataille, Inner Experience
Nonfiction: Simone Weil, Gravity and Grace
Nonfiction: René Girard, Violence and the Sacred
Play: Euripides, Iphigenia at Aulis
Film: The Sacrifice, dir. Andrei Tarkovsky
Visual Art: Caravaggio, The Sacrifice of Isaac
Visual Art: Grünewald, the Isenheim Altarpiece
III. LOVE AS A DISCIPLINE / A practice and a labor; none of the coming and going of weathers.
Essay: bell hooks, All About Love
Discourses (?): Søren Kierkegaard, Works of Love
Letters: Rainer Maria Rilke, Letters to a Young Poet
Lecture / Essay: Olga Tokarczuk, “The Tender Narrator”
Film: The Story of the Last Chrysanthemum, dir. Kenji Mizoguchi
Craft: Kintsugi
IV. SANCTUARY & CAGE / The walled garden.
Fiction: Faulkner, “A Rose for Emily”
Nonfiction: Gaston Bachelard, The Poetics of Space
Poetry: Rilke, “The Panther”
Visual Art: Louise Bourgeois, Cells and Femme Maison
Film:Room, dir. Lenny Abrahamson
V. THE INSCRIBED VERDICT / Judgment that becomes a fact about you, written into the body.
Film: The Passion of Joan of Arc, dir. Carl Theodor Dreyer
Fiction: Kafka, “In the Penal Colony”
Play: Sophocles, Antigone
Nonfiction: Foucault, Discipline and Punish
Nonfiction: Simone Weil, “The Iliad, or the Poem of Force”
VI. TENSION AS APPETITE & PLAY / Conflict and provocation enjoyed for their own sake, the nudge to the order of things.
Essay: Lewis Hyde, Trickster Makes This World
Essay: Roger Caillois, Man, Play and Games
Nonfiction: Johan Huizinga, Homo Ludens
Fiction: Vladimir Nabokov, Pale Fire
Film:Funny Games, dir. Michael Haneke
VII. MEMORY AGAINST OBLIVION / Refusing to let a person or a moment be erased.
Opera: Henry Purcell, Dido and Aeneas, “Dido’s Lament”
Manga & anime: Frieren: Beyond Journey’s End
Poetry: Thomas Hardy, “Poems of 1912-13”
Music: The Caretaker, Everywhere at the End of Time
Music: Nick Cave and the Bad Seeds, Ghosteen
Nonfiction: Roland Barthes, Camera Lucida
Fiction: W.G. Sebald, Austerlitz
Fiction: Borges, “Funes the Memorious”
Fiction: Toni Morrison, Beloved
Fiction: Proust, In Search of Lost Time
Visual Art: Christian Boltanski (e.g., Monument (Odessa) and Menschlich)
Visual Art: Masahisa Fukase, Ravens
Visual Art: Hiroshi Sugimoto, Seascapes and Theaters
VIII. IDEALISM IN RESISTANCE / Building or insisting on a better world because the real one is doomed or disenchanted.
Nonfiction: Ernst Bloch, The Principle of Hope
Fiction: Albert Camus, The Plague
Fiction: Miguel de Cervantes, Don Quixote
Visual Art: Hilma af Klint, The Paintings for the Temple
IX. SELF-EXPOSURE / ?
Poetry: Walt Whitman, “The Wound-Dresser”
Nonfiction: Emmanuel Levinas, Otherwise than Being
X. THE FORBIDDEN BELOVED / The love that cannot be had; the touch that wounds or kills.
Film: In the Mood for Love, dir. Wong Kar-wai
Essay: Anne Carson, Eros the Bittersweet
Nonfiction: Roland Barthes, A Lover’s Discourse: Fragments
Poetry: Sappho, Fragment 31
Performance Art: Pina Bausch, Café Müller
XI. UNKEPT KEEPER / Yet is never themselves held.
Audio Drama: The Magnus Archives
Essay: Maurice Blanchot, The Space of Literature
Poetry: T.S. Eliot, The Waste Land
Film: Wings of Desire, dir. Wim Wenders
Film: Stalker, dir. Andrei Tarkovsky
XII. AESTHETIC ATTENTION / Seeing for its own sake, distributed across an object’s properties, the world made strange and so made visible. Attention as the substance of love.
Essay: Bence Nanay, “Aesthetic Attention”
Essay: Simone Weil, “Reflections on the Right Use of School Studies”
Poetry: Elizabeth Bishop, “The Fish”
XIII. INTENSITY / Living at maximum amperage.
Film: Whiplash, dir. Damien Chazelle
Visual Art: Boccioni, Unique Forms of Continuity in Space
Performance Art: The Rite of Spring (Stravinsky and Nijinsky, and Pina Bausch’s staging on bare earth)
Nonfiction: Walter Pater, The Renaissance, the Conclusion
Nonfiction: Yukio Mishima, Sun and Steel
XIV. THE VOCATION OF COMMUNITY-TENDING / Welcome, mediate, and bind the many.
XV. FAITH & DAMNATION / The passage between the sacred and the fallen; faith held under doubt, the sympathetic damned.
Nonfiction: Søren Kierkegaard, Fear and Trembling
Poetry: John Milton, Paradise Lost
Poetry: Gerard Manley Hopkins, the “Terrible Sonnets”
Film: Winter Light, dir. Ingmar Bergman
Music: Ethel Cain, Preacher’s Daughter
EXTRA: GAME RECOMMENDATIONS.
Disco Elysium (ZA/UM). ( The fractured self rendered as a parliament of competing voices one assemble, betray, or lose control of. ) Required. Either play this or watch me play this.
NieR: Automata (PlatinumGames).
Undertale (Toby Fox). ( Both your mercy and cruelty leave permanent marks on the world. )
Outer Wilds (Mobius Digital). ( A time loop spent learning a dead civilization’s last day, and learning to accept the end of everything. )
Pathologic 2 (Ice-Pick Lodge). ( Progress is ruthless and control is futile. )
Silent Hill 2 (Konami). ( A man’s guilt and his trial. )
Hades (Supergiant). ( Joy in the repetition of going and returning. )
Signalis (rose-engine). ( A promise kept across the cycles of a cold recurrence; love refusing to die when the body does. )
Citizen Sleeper (Jump Over the Age). ( An emulated human consciousness in a borrowed, failing body. )
What Remains of Edith Finch (Giant Sparrow). ( Room by room, the deaths holds. )
Omori (Omocat). ( A dream-world refuge built over a single unbearable act. )
Steins;Gate. ( Every reversal exacting a fresh and different loss. )
Umineko When They Cry. ( A metaphysical trial staged again and again to force a confession out of fate itself. )
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