The alternatives are not placid servitude on the one hand and revolt against servitude on the other. There is a third way, chosen by thousands and millions of people every day. It is the way of quietism, of willed obscurity, of inner emigration.
This page renders best in Firefox (or Safari, or Chrome)
READIN
READIN started out as a place for me
to keep track of what I am reading, and to learn (slowly, slowly)
how to design a web site.
There has been some mission drift
here and there, but in general that's still what it is. Some of
the main things I write about here are
reading books,
listening to (and playing) music, and
watching the movies. Also I write about the
work I do with my hands and with my head; and of course about bringing up Sylvia.
The site is a bit of a work in progress. New features will come on-line now and then; and you will occasionally get error messages in place of the blog, for the forseeable future. Cut me some slack, I'm just doing it for fun! And if you see an error message you think I should know about, please drop me a line. READIN source code is PHP and CSS, and available on request, in case you want to see how it works.
See my reading list for what I'm interested in this year.
READIN has been visited approximately 236,737 times since October, 2007.
I struggled for a long time to convey for the Museum of Innocence this sensation of being caught in a dream. The condition has two aspects: (a) as a spiritual state, and (b) as an illusory view of the world.
(a) The spiritual state is somewhat akin to what follows drinking alcohol or smoking marijuana, though it is different in certain ways. It is the sense of not really living in the present moment, this now[*]. At Füsun's house, as we were eating supper, I often felt as if I were living a moment in the past. Only a moment before we would have been watching a Grace Kelly film on television, or another like it; true, our conversations at the table were more or less alike, but it was not such sameness that invoked this mood; rather it was a sense of not abiding in those moments of my life as they were occurring, experiencing these moments as if I were not living them.
Kemal's desire to paint his life as an allegorical failure, to excuse his behavior as part of a symbolic quest, is becoming more and more a forefront element of the novel. Chapters 67 through 72 are where we finally see him enunciating it. Here Kemal and Faridun are filming Broken Dreams, Füsun and Faridun are splitting up, Kemal is teaching Füsun to drive...
Also nice, from chapter 68 -- Chico Marx makes a guest appearance:
Some stains on a few of the straighter butts come from the cherry ice cream Füsun ate on summer evenings. Kamil Efendi, the ice cream vendor, would trundle his three-wheeled pushcart through the cobble-stone streets of Tophane and Çukucurma on summer evenings, shouting "Eye-es Gream!" and ringing his bell; in the winters he would sell helva from the same cart.
* (Though contrast that with a few pages back, "Sometimes I would forget Time altogether, and nestle into 'now' as if it were a soft bed," where he also is trying to conjure this "spiritual state.")
Looks like a pretty fun movie actually... too bad about the subtitles. Director and screenwriter is Halit Refiğ.
The book is written in 1901, censored and not published until 1923, then filmed (in reality) in 1965 and (fictionally) in 1981. (Filming began on May 17, the day before my 11th birthday!)
posted evening of November 6th, 2009: Respond ➳ More posts about The Movies
The proper way to read Pamuk's novels is to identify fully with the characters. It is easy to get off the right track and see this book as being a moral indictment of Kemal but better to sink into the warm bath of hypocrisy and self-deception which is his mind.
In chapter 67 Feridun is suddenly coming into himself as a character rather than a prop, and is making a movie based (unspokenly, partly) on Füsun's affair with Kemal and with reference to a novel by Halit Ziya -- I believe the novel in question is Kırık Hayatlar -- and the complexity and cross-purposes of the various layers of self-deceit both are practicing here are pretty stunning.
...An allegorical reading of Kemal's story, in which he is striving to throw off his cosmopolitan self and return to true Turkishness, might be part of the story he is telling about himself -- a way to distance himself from responsibility for his actions and obsessions.
Here's something very strange -- it looks like Kırık Hayatlar was made into a film about 15 years before Kemal and Feridun started working together. It seems a little weird that Kemal is not mentioning this, it's not the kind of detail I would expect him to elide.
posted evening of November 6th, 2009: Respond ➳ More posts about Orhan Pamuk
John was over tonight (after the reading) and we jammed out for a couple of hours. This is the approximate set list with some comments. (Hoping to keep set lists every time we play -- that seems like a good way of keeping track of the music.)
Prodigal Son -- this was good, maybe my favorite song of the evening. I used to play a pretty good version of this on guitar, I'm finding it's a very different song on violin -- here is a tape of me playing it, except with no guitar or vocals: Prodigal Son (the ending needs work, both in the solo and duet versions)
California Stars by Woody Guthrie and Wilco -- a really fun song to play. I'm trying to work out the structure of the song a little better. Playing the solos can be very much effortless, like laying one's head on a bed of California stars. But I have to maintain a balance, not sink too much into the bed.
Lay Me Down a Pallette on Your Floor -- another song that is very different on fiddle. Lovely old tune about adultery.
Beautiful World by ? -- don't quite get this song.
Angel From Montgomery by John Prine. I like playing this song a lot, not sure if I enjoy singing it.
Amazing Grace, but faster and without the lack of synchronization caused by recording in multiple tracks -- which should be easily solved by having two people play it instead of one in two takes.
Ellen and I got our tickets today to see Ray Davies! He'll be playing at the end of the month in Montclair. Well I'm excited: The Kinks are a band I've always liked when I listen to their music, although I'm not very familiar with the span of their œuvre, I know a lot of their songs and love when they come on the radio -- as Ellen was saying earlier, the trouble with The Kinks is all their songs are just so catchy, you can't stop singing them when you hear one.
I don't really know anything about Davies as a solo act, I understand he plays a lot of the old Kinks tracks and some new music as well. Everything I've been reading online over the past few years suggests it's going to be a great show.
And what great timing! Holly of The Song In My Head Today has picked November as the month of The Kinks; every day she is posting reflections on a song of theirs, one song per album, in chronological order. So far:
I kind of enjoy watching the Google referrals that float by on the right-hand side of the blog under "Where You Came From" -- idly tracking the number of searches that are likely for something that would appear on the page they accessed (ibant obscuri sola sub nocte per umbram) versus words that seem no more related to what I've published here than they would to a page chosen at random from the web (+"dolly parton" +sneezed). Here are some popular queries over the last few months:
13 views: q=what+do+hobbits+look+like
14 q=stroszek+soundtrack
16 q=movies+about+outcasts
17 q=museum+of+innocence
20 q=el+libro+talonario+translation
20 q=of+love+and+other+demons+analysis
22 q=codex+seraphinianus+download
31 q=the+hamlet+faulkner
33 q=readin
39 q=gordita+beach
posted evening of November first, 2009: Respond ➳ More posts about The site
(Today Isabella of Magnificent Octopus has a review up of Museum of Innocence -- a positive and thoughtful one, and she mentions this blog in a complimentary light, which makes me feel flattered and happy -- take a look!)
I would like every visitor to our museum to find these outings as pleasant as I did, so I shall go into some detail here. After all, isn't the purpose of the novel, or of a museum, for that matter, to relate our memories with such sincerity as to transform individual happiness into a happiness we all can share?
This line (from chapter 60) works on a couple of levels. Yes it is a purpose of novels and museums (not "the purpose", but of course Kemal is single-minded) to establish a collective consciousness, and a collective happiness is one facet of that. But this novel is not about Kemal's happiness, it's about his un-happiness, his fixation on becoming happy and becoming authentic, which fixation is leading him farther and farther away from happiness and authenticity. So when he says he wants us to appreciate the pleasure he felt from the outings with the Keskins, behind that is what role these outings play in his unraveling.
posted afternoon of November first, 2009: Respond ➳ More posts about Readings
This has been a really excellent weekend for playing music -- last night I jammed with John, who I met pretty recently and had not played with previously, and was startled to find that we're on just about the same page musically. We picked up each other's songs very quickly and got some nice harmonies going.
Then today I played with Bob and Janis and Gregory, and realized that we've really made a lot of progress over the past half a year or so, after a couple of years of being in a rut -- at this point one of us can call a tune and even if we haven't played it in a while, we jump right in and harmonize. A musical milestone of sorts for me this afternoon was playing violin and singing in unison with it -- I've never been able to figure that out before but today it was sounding all right. (Neither the playing nor the singing was as good, quite, as if I do one or the other -- but I could hear how they were going to get better.)
posted evening of October 31st, 2009: Respond ➳ More posts about Music
Sylvia and I are going to the toy store today to get a cribbage board. Here are my three favorite card games from childhood: cassino, cribbage, gin rummy. Sylvia is pretty good at cassino -- we played this morning and she beat me -- just learning cribbage -- we've been playing two and three hands, no board, just counting points, for a few weeks now -- and as yet not introduced to gin rummy.
I have forgotten a lot of the details of cribbage rules! The first time I played with Sylvia I did not even remember to stop play at 31. Certain details of the scoring still elude me, like "Nobs" and "Nibs" -- I am relearning this stuff as I teach it to Sylvia.
In general I played a lot of cards as a child, with my parents and uncle and grandfather, and solitaire. The deck of playing cards has an iconic position in my mind -- the cut, the shuffle, the fan, the visual aspect of each card and the tactile aspect of the cards, each of these feels important, like a piece of my home. I'm kind of attracted to Tarot for its connections with playing cards although the mysticism has kind of lost the charm it held for my 20 -year-old self.
The Wooster Collective gives us a look at the creative process of graffiti animator Blu, a favorite here at READIN. Turns out he is from Bologna, not Argentina as I had thought.
Looks like a pretty fun movie actually... too bad about the subtitles. Director and screenwriter is 
harmonies going.
Sylvia and I are going to the toy store today to get a cribbage board. Here are my three favorite card games from childhood: cassino, cribbage, gin rummy. Sylvia is pretty good at cassino -- we played this morning and she beat me -- just learning cribbage -- we've been playing two and three hands, no board, just counting points, for a few weeks now -- and as yet not introduced to gin rummy.
The Wooster Collective gives us 