Beginning of Chapter Quotes from Unraveling: Book 1

Below are the chapter titles and quotes that introduce them in Unraveling: Book 1. I chose them to reflect developments in Jesse’s character and also as they provide deeper context for the circumstances that he faces or other people that he becomes involved with. I also find that the quotes, which touch upon large social, political and economic trends, present a compelling contrast to the plot of the first book of Unraveling. Jesse’s story does deal with existential issues, but is more like the No Exit of Al-Sadiiq Banks than the No Exit of Jean-Paul Sartre.

Discipline

“…All human life, from the very beginning of its development within capitalist society, has undergone an impoverishment. More than this, capitalist society is death organized with all the appearances of life. Here it is not a question of death as the extinction of life, but death-in-life, death with all the substance and power of life. The human being is dead and is no more than a ritual of capital. Young people still have the strength to refuse this death; they are able to rebel against domestication. They demand to live. But to those great numbers of smugly complacent people, who live on empty dreams and fantasies, this demand, this passionate need just seems irrational, or, at best, a paradise which is by definition inaccessible.”

– Jacques Camatte

Primitive Accumulation

“One capitalist always kills many.”

– Karl Marx

Reinvestment

“Young people everywhere have been allowed to choose between love and a garbage disposal unit. Everywhere they have chosen the garbage disposal unit. A totally different spiritual attitude has become essential – and it can only be brought into being by making our unconscious desires conscious and by creating entirely new ones.”

– Guy Debord

Entrepreneurship

“During the time men live without a common power to keep them all in awe, they are in that conditions called war; and such a war is of every man against every man… Force and fraud are in war the two cardinal virtues.”

– Thomas Hobbes

Espionage

“Citizens with a conscience are not going to ignore wrong-doing simply because they’ll be destroyed for it: the conscience forbids it.”

– Edward Snowden

Transportation, Distribution and Logistics

“What kind of society isn’t structured on greed? The problem of social organization is how to set up an arrangement under which greed will do the least harm; capitalism is that kind of system.”

– Milton Friedman

Marketing

“He who does not know how to deceive does not know how to rule.”

-Rafael Trujillo

Regulation

“What do I care about the law. Ain’t I got the power?”

– Cornelius Vanderbilt

Conference

“True capitalists reinvest their surplus into the community. They don’t have to be coerced through increased taxation.”

-Adam Smith

Review of “Show Your Work!”

 I saw a copy of Show Your Work!: 10 Ways to Share Your Creativity and Get Discovered by Austin Kleon in FedEx while printing out the notes on my novel that my editor had sent me and it felt like serendipity. This combined with my just having reviewed notes that I’d taken following a series of job interviews where I learned that the question most asked of me is: “What is your creative process?”

I think for any sort of creative oriented position one ought to be able to clearly explicate one’s creative process, however so much depends on what’s being creative.

 

In short, the Ten Commandments to sharing like an artist are as follows:

You Don’t Have To Be A Genius.
Think Process, Not Product.
Share Something Small Every Day.
Open Up Your Cabinet Of Curiosities.
Tell Good Stories.
Teach What You Know.
Don’t Turn Into Human Spam.
Learn To Take A Punch.
Sell Out.
Stick Around.

In length, the 202 pages of the book expand on these ideas in a compelling manner. That there are a number of insightful quotes by successful creatives to help drive this home along with a number of examples. One of the aspects of the book that I particularly liked was how the excessive focus on only a few elements of the creative process can help lead to a failure to live up to one’s potential. Being aware of this aspects and acting in accordance with it unleashes a lot of creative possibilities.

Inside book image from Show Your Work

For myself, after reading this book I decided to start sharing some of my process about creating Unraveling rather than commenting on a number of images related to the story as well as providing background information along the lines of a Cambridge Companion to Literature. Sharing this process allows one to get greater fellowship, feedback or even patronage.

Two of my favorite concepts the book delves into is the idea of “scenius” and of creation as curation. Regarding the former, which Kleon states originates from Brian Eno, it’s pointed out that it is only through interacting with many people that a fertile “ecology of talent” is created. This can be in the form of consuming a variety of works but is mores evident in the interactions over the internet and in person wherein ideas get flushed out, aesthetic choices get analyzed and critiqued, and those that are also enthusiastic about what you are share in their joy over the exchange of work. When I think of the latter, curation as creation, in relation to my own work I recognize this as a direct mirror of my own process. Unraveling is unashamedly influenced by a number of novels, television series, movies thatI’ve read as well as non-fiction material from the newspapers, academic tomes and other sources.

Part of the reason why I was attracted to getting an Experimental Humanities degree at NYU was indeed a reaction to the perspective that the various subjects in school ought to be studied in isolation from one another. This does not mean I think that there ought to be no specialization, but that at a number of levels it’s important to recognize the totality of human knowledge and the benefits that accrue if not in the academic field than in life in general by being more of a generalist.

Inside Image from Show Your Work Related to Sharing Process
Inside Image from Show Your Work Related to Sharing Process

I got a little off topic there so then let me say in closing that I highly recommend this book as while it’s not pathbreaking contribution to the various DIY Inspiration/Creative Self Help books it’s a very timely and well written work that I think will become a touchstone for a number of creatives, like myself, who see in these types of mass-market tomes a type of professional/personal development.

Watch the trailer for the book below:

Show Your Work! Book Trailer from Austin Kleon on Vimeo.

Review of "Nietzsche: Philosopher, Psychologist, Anti-Christ"

In trying to come up with a reading list for a Nietzsche seminar that I imagine teaching at some point in the future I read Walter Kaufmann’s Nietzsche: Philosopher, Psychologist, Antichrist. An astute thinker need not be aware of Nietzsche’s compelling style to to ask why read secondary literature when his own work is available. Answering such a question bespeaks one of the general problematics of Nietzsche scholarship and presents an excellent manner of opening to Kauffman’s account of Nietzsche.

In contradistinction to the manner in which Nietzsche desired to be read, Kaufmann presents a systematic approach of his work. Nietzsche himself did not write this way, instead he adapted his earlier thoughts to new considerations rather than simply refuting old ones, he posed what he saw were the most important questions and sometimes was only able to come up with partial answers, he wrote beautiful aphorisms using rich symbolic language which was to be appreciated and considered for it’s pith, beauty and the readers resonance with it rather than constructing logical edifices. This is not said to give traction to the claims of some readers of Nietzsche that categorize him as an irrationalist – but to show that the project of coming to grips with his thought requires a similar amount of patience and dedication that one would give to a sage. He wants you to read his entire work, slowly, and then start to respond to him. This is just one of several aspects which make Nietzsche difficult to approach in a classroom setting unless one is to read all or a majority of the Nietzsche books and essays. To give a real-world example of such difficultly in teaching Nietzsche, it’s worth mentioning here is that while taking a course on Nietzsche at NYU with Dr. Friedrich Ulfers our assigned reading consisted primarily of sections from The Will to Power as well as a number of essays written by the professor. Having read most of Nietzsche’s work on my own prior to this I found the course reading list appropriate, though it was clear from the questions asked by participants that reading selections and The Will to Power left them with gaps of understanding.

One of the admirable traits of Kaufmann’s work in this book is his scholarship. There are never claims that aren’t densely contextualized, different positions than Kaufmann’s own are explained and then shown to be risible concepts that are only the other author’s attempt to co-opt. Nietzsche That said, in many an academic circle Kaufmann is seen as a tamer of Nietzsche. I think this is a fair assessment, though I don’t think that this devalues his points of exegesis. In this book specifically he is interested in dealing with three major themes of Nietzsche’s work – his particular contribution to philosophy, his depth analysis of the human spirit and what it means to Nietzsche to be an “Anti-Christ”. Put more simply, the books is concerned priorly with Nietzsche’s thought as it relates to Psychology, Philosophy and Christianity.

As it relates to psychology, Nietzsche is widely recognized as the first depth psychologist. His character studies and examinations of history led him to understand the individual as being motivated not only by the desire for peace or pleasure but also power. Power as a motivating force may not be the one that leads the individual into a quiet life but this, Nietzsche states, is not always desirable or laudable. Kauffman shows how it is that Nietzsche holds the difference between great men and men to be of a greater degree of difference that that between an average man and an animal. The reason for this is that those that are merely acted upon and are unable to make themselves are just like the animals while those that are able to manage their passions and organize them in an artful way are the true inheritors of the divine potential within all. The ascetic/philosopher, artist and politician are the primary persons able to actualize this and they do so via “… the sublimation of their impulses, in the organization of the chaos of their passions, an in man’s giving “style” to his own character.” (252). Accomplishing this includes ridding oneself of erroneous thought as well as drastically limiting oneself by uniting the spirit and letting go of debilitating beliefs. While his deference to Aristotelan notions of habit and being prevent him from becoming a total vitalist, it is clear that his understanding of the potentials of humans is great should they truly make the decision to be so.

One of the things that I particularly like of Nietzche’s thought, upon which Kauffman makes a point of in the section on Sublimation, Geist, and Eros is the ridicule of the “pure spirit” that is supposed to exist after the body has died. He ties this connection of the pure spirit to a distrust or denigration of the human body and the willingness to subsume rationality, to castrate the mind in favor of an dangerous idealism. This is important as is bespeaks his deep concern with human self-realization and is connected to his notion of Amor Fati. Amor Fati, or love of one’s fate, is a formula which, paraphrasing Ecce Homo, holds that nothing that is may be subtracted from one’s self and that nothing is dispensable. Including every element in the material past which lead to the construction of the self up until the present one is better able to intellectually and totally sublimate oneself. Using faulty steps leads to a poorly integrated personality. The Overman does not hold mystical notions as he is content with the facts, as sublime or horrendous as they may be, as the manner in which he will actualize himself.

While Nietzsche is oft-quoted, mistakingly, as originating the quote “God is Dead”, his actual relationship to Christianity is much more complex than a simple repudiation of it as a mythical system created by a once nomadic tribe of people occupied by an imperial power.Towards the end of his life he signed his letters “the crucified one” and his contention with Christianity has more to do with the hypocrisies of the adherents rather than the distaste for the man. Christianity ethics as such he holds as being resentful, but he sees greatness in Christ who is in many ways similar to the other spiritual ideal which he respects, Socrates. Both were combatants against the prevailing statist logic that degraded the human spirit, a tradition which Nietzsche places himself in.

As a philosopher Nietzsche styled himself in opposition to another German philosophical giant, Hegel. Kauffman in this and his work on Hegel, however, points out that the two were often in agreement on many things despite purported fundamental differences. The holist-perspectivistic duality is something that, at least accord to Nietzsche, cannot be crossed however Hegel’s recognition of it is important to qualifying some of Nietzsche’s more bombastic claims. Also worth mentioning, thought not addressed in the book, is Nietzsche’s lauding by left and right political philosophers. The American anarchist Emma Goldman lectured extensively on him and as Corey Robin’srecent article illustrates, his writing also had a profound influence on the Austrian Right.

Backpacking Itinerary

For those friends and family that have expressed the desire to meet us on our travels at some point or even to just know where we are going – here is our rough itinerary as well a list of some of the draws for our going to a particular place. Our travel time is from May 18th to July 23rd, and we will be keeping to the below schedule generally, but as we may want to shorten and extend our time at certain places are leaving many of the arrangements open. Even if you can’t make it be sure that no later than a few months after the trip I will upload many picture and include writings on the places as well, something I wish I’d done more diligently the last two times I’ve backpacked in Europe and drove around the USA.

 Genoa (2 days)

“Among the marvels of Italy, it will take some digging to find the beauties of Genova, but it is worth visiting.” – Paolo Coelho

* Palace
* Villa Durazzo-Pallavicini
* Porta Soprana
* Piazza de Ferrari
* The Palazzo Reale
* Via Garibaldi
* Cattedrale di San Lorenzo Campanile
* Palazzi dei Rolli

Train to Florence (with a short stop over in Pisa)

Florence (4 days)

“Everything about Florence seems to be colored with a mild violet, like diluted wine. – Henry James

* Uffizi Gallery
* Fountain of Neptune
* Church of San Lorenzo and the Medici Chapel
* Santa Croce (burial site of Machiavelli, Galileo, Michaelangelo, etc.)
* Academia di Bella Arti (David and other classics)
* Palazzo Vecchio
* Boboli Gardens
* Museo Galileo
* Villa Demidoff
* Museo dell’ Opera del Duomo
* Loggia dei Lanz

Fly to Rome OR take High Speed Rail System

Rome (3-4 days)

“You cheer my heart, who build as if Rome would be Eternal.” – Augustus Caesar

* Vatican
* Sundry Piazzas
* Trevi Fountain
* Old City

Fly to Venice

Venice (4 days)

“A realist, in Venice, would become a romantic by mere faithfulness to what he saw before him.” –Arthur Symons

* Venice

Fly to Ljubljana

(2 weeks of travel)

Ljubljana (4 days)

“Where soldiers once slept, a cultural enclave rises” – New York Times

* Ljubljana Free Tour
* Ljubljana University
* Ljubljana Castle
* National Museum of Contemporary History
* Visiting the artists and musicians in the “Autonomous city” of Metelkova

(A short bus ride to Bled)

Bled (2 days)

* Hiking to waterfalls, caves and mountain views
* Swimming to an island
* Visit to Bled Castle
* Church of the Assumption
* Boat Tours/Emerald River Tour
* International Music Festival
* Horse/bike rentals
* Learn how to perform Sabrange!

Bled to Dubrovnik

Dubrovnik and Split, Croatia (~2 days each)

* Summer festivals
* Roland Column
* Placa Stradun
* Pile Gate
* Church of St. Ignatius and the Jesuit College
* Bukovac House

Bus or flight to Berat

Berat, Albania (3 days)

* Whitewater rafting on the Osumi River
* Numerous Byzantine Churches and Ottoman Mosques
* Hiking Tomorri Mountain

Bus to Tirana

Tirana, Albania (3 days)

* Petrela Castle
* General’s Beach
* National Art Gallery
* Dëshmorët e Kombit Boulevard
* Piramida (International Centre of Culture)

Fly to Athens

Athens (five days)

* Acropolis
* Temple of Zeus
* Anafiotika
* Plaka
* Monastiraki
* Thissio
* Agora
* New Acropolis Museum
* Walk through Exarchia
* Maybe a cruise to the surrounding islands of Hydra, Poros or Agina or a Corinthian daytrip?

[4 weeks total]

Delphi (daytrip)

* Visiting the site of the Delphic Oracle
* Ruins of the Temple of Apollo, theatre, etc.
* Delphic Museum

Thessalonikia (2-3 days)

* Panagia Chalkeon
* The White Tower
* Paleochristian and Byzantine Monuments of Thessalonika
* Museum of the Macedonian Struggle
* Archeological Museum
* Taking pictures of riots against the Government

Express Train to Istanbul

Istanbul/Büyükada (5 days)

* Hagia Sophia Museum
* Sultanahmet District (Where the Topkapı Palace and Blue Mosque are)
* Basilica Cistern
* Turkish Baths
* Theodosian Walls Walk
* Bosphorous Cruise (Just like Jason and the Argonauts!)
* Shopping in bazars and the counterfeit goods markets
* Rumeli Citadel
* Riding the Turk Balloon
* Dance of Colors (Sufi Dances)
* Gala Mevlevi’s- Sufi Museum/Order
* Beylerbeyi Palace

Büyükada (Day trip by ferry)

*Greek Monastery of St George
*Leon Trotsky’s first place of exile

(Fly to Gdynia)

Gdynia, Poland (4 days minimum)

* July 4th – 7th Open’er

(6 Weeks)

Talinn, Riga, and Vilnius (~3 days each)

Vilnius, Talinn and Riga as we see fit,  though this may turn into forays through Czech Republic.

Fly back to the United States July 23rd.

Some Paintings I've Loved…

I’ve been to so many art museums the past few months that to write with the same amount of depth about all the pieces that I’ve loved as I have for some of others would require more time than there are hours in the day. Despite this – I wanted to share some of the works that I’d written down on my iPhone whilst perambulating the galleries, in no particular order.

Ramon Casas – Garrote

Jose Gutierez Solana – Procession of Death

Francis Picabia – The Spanish revolution

Tatiana Glebova – Prison

Ben Shahn – French workers

Otto Muller – Two Female nudes in a landscape

Gustave Moreau – Galathea, The Voices

Casper David Freidrich – Easter Morning

John Singer Sargent – Venetian Onion Seller

Aert van der Neer – Moonlight Landscape with a Road Beside a Canal

Juan de Flandes – The Lamentation

Bramantino – The Resurrected Christ

Alvise Vivarini – Saint John the Baptist

Hans Baldung Grien – Adam and Eve

Tiziano – St. Jerome in the Wilderness

Jusepe de Ribera – The Penitent St. Jerome

Claude Joseph Vernet – Night

Ignacio Zuloaga – Portrait of the Countess Mathieu de Noailles, Christ of Blood

Julio Remero de Torres – Venus of Poetry

Hermen Anglada Camarasa – Nude Under the Climbing Vine

Valentin Serov – Portrait of the Artist issak levitan

Alfonso Sanchez Garcia – Repression of the Revolutionary General Strike

Angeles Santos Torroella – A World

Jose Renau – Shedding her Outer Layer of Superstition and Misery, from the Immorial Slave There Emerged THE WOMAN capable of Active Participation in the Making of the Future

Hermenegildo Anglada Camarasa – Portrait of Sonia de Klamery, Countess of Pradere

Vladimir Mako – Sky

Francois Boucher – The Triumph of Venus

Cy Twobly – Thermopyae

El Greco

Anselmo Guinea

Gustave Courbet