Why Booksellers Are Going Belly Up

Balloons, sky-blue and gold and arterial red, bobbed against Cody's glass facade the afternoon before the store closed. July sunshine basted the hordes jostling inside, plucking strawberries from trays, eyes darting as if to say, "I'm making history." News cameras swiveled. A fat man with a sheathed knife at his waist, leather hat strung with small animal skulls, perused the horror-fiction section. A combo played Parisian bistro tunes: accordion and fiddle, happy-sad. The shelves upstairs were bare.

One could be picky and say this was Cody's Telegraph to differentiate the 50-year-old Berkeley, Calif. flagship from the two other Cody's stores, one of which opened on Berkeley's Fourth Street in 1997, the other in San Francisco last fall. Neither of them appears doomed, but the July 10 closure of Cody's Telegraph Avenue store garnered extraordinary attention. Local and national media -- The New York Times, The Los Angeles Times, NPR, MSNBC, to name a few -- have proved generous with their time and ink since owner Andy Ross announced his intentions in early May. His revelation spurred fierce debates, like an endless grown-up game of Clue: What killed Cody's? Chain stores, some said. Changing times, others surmised. Cultural illiteracy. Greed. The Internet. Panhandlers. That missing parking lot. George W. Bush...more here

Thank Who Very Much?

Living without God today means facing life and death as no generation before us has done. It entails giving meaning to our lives not only in the absence of a supreme being, but now without the forces and trends that gave hope to the past several generations of secularists. We who live after progress, after Marxism, and after the Holocaust have stopped believing that the world is being transformed by reason and democracy. By the beginning of the twenty-first century, the modern faith that human life is heading in a positive direction has been undone, giving way to the earlier religious faith it replaced, or to no faith at all. Alone as never before, in a universe scientifically better understood than ever, we find little in its almost-infinite vastness to guide us towards what our lives mean and how we should live them.

To answer these questions anew, agnostics, atheists and secularists must absorb the experience of the twentieth century and the issues of the twenty-first. We must face today's concerns about forces beyond our control and our own responsibility, shape a satisfying way of living in relation to what we can know and what we cannot know, affirm a secular basis for morality even while, especially in the United States, religion is being trumpeted as essential to living ethically, formulate new ways of coming to terms with death, and explore what hope can mean after the collapse of Enlightenment anticipations...more here

Living the absurd

"Living the absurd… means a total lack of hope (which is not the same as despair), a permanent reflection (which is not the same as renunciation), and a conscious dissatisfaction (which is not the same as juvenile anxiety)."

Albert Camus

Why Worry?

There are only two things to worry about.
Either you are well, or you are sick.
If you are well, then there is nothing to worry about.
but if you are sick, there are two things to worry about.
Either you will get well or you will die,
if you get well, there is nothing to worry about.
If you die, there are two things to worry about.
Either you will go to heaven or hell .
If you go to heaven, there is nothing
to worry about, but if you go to
hell, you'll be so damn busy
shaking hands with friends, you
won't have time to worry.

Writers and artists confronting the end

Last words, recorded and treasured in the days when the deathbed was in the home, have fallen from fashion, perhaps because most people spend their final hours in the hospital, too drugged to make any sense. And only the night nurse hears them talk. Yet, at least for this aging reader, works written late in a writer’s life retain a fascination. They exist, as do last words, where life edges into death, and perhaps have something uncanny to tell us. In 1995, the critic, teacher, and journalist Edward W. Said, best known for his pro-Palestinian advocacy, taught at Columbia a popular course called “Last Works/Late Style.” Until his untimely death, of leukemia, in 2003, he was working on a collection of essays and lectures relevant to the topic; this assemblage, edited and introduced by Michael Wood with the coöperation of Said’s widow, has now been published by Pantheon under the title “On Late Style: Music and Literature Against the Grain” ($25). Said’s central idea, set forth in the first chapter, comes from the German philosopher Theodor Adorno (1903-69), who wrote extensively, with an agitated profundity, on Beethoven’s late works. Adorno found in the disharmonies and disjunctions of these works a refusal of bourgeois order, an “idea of surviving beyond what is acceptable and normal.”...more here

Personality

Personality Test Results

Extraversion |||| 16%
Stability |||| 16%
Orderliness |||||||||||||||| 63%
Accommodation |||||||||||||| 56%
Interdependence |||||||||||||| 56%
Intellectual || 10%
Mystical |||| 16%
Artistic |||| 16%
Religious |||||||||||| 50%
Hedonism || 10%
Materialism || 10%
Narcissism || 10%
Adventurousness |||| 16%
Work ethic || 10%
Self absorbed |||||||||| 36%
Conflict seeking |||| 16%
Need to dominate |||| 16%

Romantic |||||||||||||||||||| 90%
Avoidant |||||||||||||| 56%
Anti-authority |||||| 30%
Wealth |||||| 23%
Dependency || 10%
Change averse |||||||||||||| 56%
Cautiousness |||||||||| 36%
Individuality |||||||||||| 43%
Sexuality |||||||||| 36%
Peter pan complex |||||||||| 36%
Physical security |||||| 23%
Physical fitness |||||||||||| 50%
Histrionic |||||||||||| 43%
Paranoia |||||||||||||||| 63%
Vanity |||||||||||| 43%
Hypersensitivity |||||||||||||||| 70%
Female cliche |||||||||||| 43%

Stability results were very low which suggests you are extremely worrying, insecure, emotional, and anxious.

Orderliness results were moderately high which suggests you are, at times, overly organized, reliable, neat, and hard working at the expense of flexibility, efficiency, spontaneity, and fun.

Extraversion results were very low which suggests you are extremely reclusive, quiet, unassertive, and secretive.

trait snapshot:
depressed, introverted, neat, needs things to be extremely clean, observer, perfectionist, not self revealing, does not make friends easily, suspicious, irritable, hates large parties, follows the rules, worrying, does not like to stand out, fragile, phobic, submissive, dislikes leadership, cautious, takes precautions, focuses on hidden motives, , solitary, familiar with the dark side of life, hard working, emotionally sensitive, prudent, altruistic, heart over mind, unadventurous...more here

Hence, all you vain delights

Hence, all you vain delights,
As short as are the nights
Wherein you spend your folly,
There's nought in this life sweet,
If man were wise to see't
But only melancholy,
Oh, sweetest melancholy.
Welcome, folded arms and fixed eyes,
A sigh that piercing mortifies,
A look that's fast'ned to the ground,
A tongue chain'd up without a sound.
Fountain-heads, and pathless groves;
Places which pale passion loves,
Moonlight walks, when all the fowls
Are warmly hous'd, save bats and owls,
A midnight bell, a parting groan,
These are the sounds we feed upon;
Then stretch our bones in a still gloomy valley,
Nothing's so dainty sweet as lovely melancholy.

John Fletcher (1579-1625)

The God Factor

Over the course of five years, Chicago Sun-Times' religion writer Cathleen Falsani interviewed 32 well-known people—among them intellectuals, artists, political pundits and rockers—for her book, "The God Factor: Inside the Spiritual Lives of Public People." Subjects like Bono, Playboy founder and editor-in-chief Hugh Hefner and singer Annie Lennox all opened up to her questions about their individual faith and deeply held beliefs and doubts. Interference.com got to return the favor, asking her about the difference between religion and spirituality, how 9/11 impacted our faith, and even the similarity between church and a good U2 concert...more here

A Terrific Urge

Woke up this morning with
a terrific urge to lie in bed all day and read.

--Raymond Carver

Read Books

Read books on the philosophy of science and the myth of creationism.
Read books on the myth of creationism.
Read books on the fourteen-billion-year story of cosmic and human history.
Read books on the Emergence of Life on Earth.
Read books on biology and genetics.
Read books on Darwin and Evolution.
Read books on the great mass extinction of the past.
Read great books on the causes of collapse of societies.
Read great books on the questions of life, death and ethics from a humanist or christian perspective.
Read great books on the history of religions and about religion.

Currently reading

Kierkegaard's Writings, XVI: Works of Love

What marvellous strength love has! The most powerful word which has been said, yes, God's creative word, is: "Be". But the most powerful word any human being has ever said is, if said by a lover: I abide (p. 286).

This is my favourite love poem

I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers' den?
'Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, 'twas but a dream of thee.

And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoveres to new worlds have shown,
Let us possess one world, each hath one, and is one.
My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we find two better hemispheres,
Without sharp north, without declining west?
Whatever dies was not mixed equally,
If our two loves be one, or, thou and I
Love so alike that none do slacken, none can die.

The Good Morrow by John Donne

Nausea

We do not know what we want and yet we are responsible for what we are - that is the fact. I live alone, entirely alone. I never speak to anyone, never; I receive nothing, I give nothing… When you live alone you no longer know what it is to tell something: the plausible disappears at the same time as the fiends. You let events flow past; suddenly you see people pop up who speak and who go away, you plunge into stories without beginning or end: you make a terrible witness. But in compensation, one misses nothing, no improbability or, story too tall to be believed in cafes.(...)

The Nausea is not inside me: I feel it out there in the wall, in the suspenders, everywhere around me. It makes itself one with the café, I am the one who is within it.
Jean-Paul Sartre - Nausea

Kierkegaard's "Mystery Of Unrighteousness" In The Information Age

"The world's fundamental misfortune," the 19th century Søren Kierkegaard writes, "is ...the fact that with each great discovery ...the human race is enveloped ... in a miasma of thoughts, emotions, moods, even conclusions and intentions, which are nobody's, which belong to none and yet to all." [Kierkegaard (1967), #2650] The great discoveries to which Kierkegaard is referring are made possible by the use of technology, and part of his concern is that the use of technology often results in human beings having "destitute" relations to one another. As exemplified for Kierkegaard by the popular press, the uses of technologies not only transform face-to-face relationships, they create masks behind which people hide from one another. It is this latter point that is especially important. For Kierkegaard, what ultimately drives people toward certain technological practices is fear. "What rules the world," Kierkegaard writes, "is... the fear of humanity. Therefore this fear of being an individual and this proneness to hide under one abstraction or another.... Ultimately an abstraction is related to fantasy, and fantasy becomes an enormous power... [T]he human race became afraid of itself, fosters the fantastic, and then trembles before it." [Kierkegaard (1967), #2166] The use of technology to mediate communication, claims Kierkegaard, provides people with the means to escape, or at least hide from those aspects of interpersonal relationships they most fear...more here

Fragments from a History of Ruin

For the eyes that have dwelt on the past, there is no thorough repair.
—George Eliot, The Mill on the Floss

For the Renaissance, the ruin was first of all a legible remnant, a repository of written knowledge. Classical ruins had preserved a certain stratum of the linguistic culture of Greece and Rome: the inscriptions on monuments, tombs, and stelae. Other mute objects—fragments of statuary, columns, bits of orphaned arch or broken pediment—composed in themselves a kind of script made of gesture, line, and ornament. In 1796, the French archaeologist Antoine Chrysostome Quatremère de Quincy would ask, "What is the antique in Rome if not a great book whose pages have been destroyed or ripped out by time, it being left to modern research to fill in the blanks, to bridge the gaps?" But already, at the end of the fifteenth century, the rubble of the classical past had been figured as a sort of scattered cipher: a text that was alternately readable and utterly mysterious...more here

John Donne

The picture of John Donne "in the pose of a melancholy lover", which was recently bought by the National Portrait Gallery, has once again fixed a particular image of the poet in the public mind. He is soulful and amorous (the folded arms and sensual mouth), theatrical (the wide-brimmed black hat), dressy (the lacy collar and furred cuff), and enigmatic (the deep background shadows). And if that doesn't sound intriguing enough, there's more. An inscription bowed into a semi-circle round the top of the portrait reworks a phrase from a Latin psalm which can be translated as "O Lady lighten our darkness". Does this mean the picture was originally intended for a lover, or is it a kind of prayer to the Virgin Mary, and therefore also a reference to Donne's Catholic background? We can't be sure. Like so much else about Donne, the inscription is ambiguous - as much a fusion of "contraries" as the man himself.

Donne was born in 1572, the son of Catholic parents who understood that if they wanted to get on in the world they would have to play down or actually disguise their faith...more here

I Will Bear Witness

I Will Bear Witness. This is the single most important document from the era of National Socialism. It gives an account of every day of Hitler's 13-year dictatorship, written by a German-Jewish convert to Protestantism who had married a heroic Protestant woman, and who briefly imagined that his dual loyalty (to employ an otherwise suspect phrase) might win him some immunity. Swiftly disabused on that score, Klemperer resolved to depict his beloved Germany's collapse into barbarism.

The diary possesses three dimensions that are of great interest to us. By its portrayal of innumerable acts of decency and solidarity on the part of ordinary Germans, it seems to rebut the Daniel Jonah Goldhagen diatribe about "willing executioners." By its agonizing description of the steady and pitiless erosion of German Jewry, it puts to shame all those who doubt--whatever the argument may be over numbers or details--that Hitler's state had a coldly evolved plan of extirpation. And it forces one to reconsider the Allied policy of "area bombing."...more here

Her Melancholy

It was in this place my poor Olivia first met her seducer, and every object served to recall her sadness. But that melancholy which is excited by objects of pleasure, or inspired by sounds of harmony, soothes the heart instead of corroding it. Her mother, too, upon this occasion, felt a pleasing distress, and wept, and loved her daughter as before. "Do, my pretty Olivia," cried she, "let us have that little melancholy air your papa was so fond of. Your sister Sophy has already obliged us. Do, child; it will please your old father." She complied in a manner so exquisitely pathetic as moved me.

When lovely woman stoops to folly,
And finds too late that men betray,
What charm can soothe her melancholy,
What art can wash her guilt away?

The only art her guilt to cover,
To hide her shame from every eye,
To give repentance to her lover,
And wring his bosom--is to die.

Oliver Goldsmith, The Vicar of Wakefield (1766), ch. xxiv

Sonnet XXI

Go! cruel tyrant of the human breast
To other hearts, thy burning arrows bear;
Go, where fond hope, and fair illusion rest!
Ah! why should love inhabit with despair!
Like the poor maniac I linger here,
Still haunt the scene, where all my treasure lies;
Still seek for flowers, where only thorns appear,
"And drink delicious poison from her eyes!"
Tow'rds the deep gulph that opens on my flight
I hurry forward, passion's helpless salve!
And scorning reason's mild and sober light,
Pursue the path that leads me to the grave!
So round the flame the giddy insect flies,
And courts the fatal fire, by which it dies!

Charlotte Smith (1786)

The Bible, Culture and Nick Cave

Debates on the relation between culture and the Bible are locked into two restrictive models: either the Bible is a source for subsequent appropriations, or it is the goal that one must attain through the thicket of those appropriations. In order to trouble this two-way street, I explore the words and music of Nick Cave, focusing on the way he controls interpretation of his work and where that control breaks down. At this moment Cave provides an unwitting insight into another way to view the relation of the Bible and culture, one that operates in terms of “strategies of containment.”...more here