The new novel by the most famous tandem of Serbian-American literature, a four-handed intimate artistic witness to the worlds we no longer belong to and to which we never belonged, to being foreign, and to the power of creative friendship in the work of interpreting a real and historical space that we understand less and less the closer we are. Undertake an exploratory journey through the para-regions of the literature of Peter Handke, through the labyrinths of translated originals and of original translations, through the realms of thought whose borders are the Rocky Mountains, Visegrad, Cologne, and Belgrade; allow this two-seater without steering to show you these borders in a way only you can experience!
Thursday, December 4, 2008
Sunday, November 30, 2008
Thursday, November 13, 2008
u prodaji, broširani povez, 222 strane, 21 cm, latinica
Novi roman najčuvenijeg tandema srpsko-američke književnosti, u četiri ruke ispisano artističko i intimno svedočanstvo o svetovima kojima više ne pripadamo i o svetovima čiji deo nikada nismo bili, o stranstvovanju koje se odlikuje svežinom pogleda i dubinom razumevanja, i o snazi kreativnog prijateljstva na poslu osvajanja i interpretiranja stvarnosnih i istorijskih prostora koje utoliko manje istinski razumevamo ukoliko su nam bliži. Po?ite u istraživačku šetnju paraprostorima Handkeove literature, lavirintima prevedenih originala i originalnih prevoda, duhovnim prostranstvima oivičenim Stenovitim planinama i Višegradom, Kelnom i Beogradom; dozvolite ovom književnom dvojcu bez kormilara da vam ih pokažu na način kako su ih jedino oni mogli doživeti!
Monday, November 3, 2008
Thursday, October 16, 2008
Sunday, October 5, 2008
It is at least as old as the Sphinx’s riddle:
What being, with only one voice, has sometimes two feet, sometimes three, sometimes four, and is weakest when it has the most?
Man, Oedipus answered, because he crawls on all fours as an infant, stands firmly on his two feet in his youth, and leans upon a staff in his old age. [Robert Graves, The Greek Myths: 2 (Middlesex: Penguin Books, 1955) 10.]
We call ourselves wise (homo sapiens) and argue that our language differentiates us from other species of animals. But even more substantially, we define ourselves by our ancestors’ revolutionary achievement of a standing posture (homo erectus). We became human, in one sense, because we stood up. In another sense, we are who we are because of what that physical act has been made to stand for. Reflecting the substantial nature of that original erection, our languages and cultures constantly, insistently, even obstinately establish superstitions and understandings related to the constituative circumstances of our existence by systematic reference to our station and stature as standing beings, as static and ecstatic beings whose destiny is to cause things to stand. As these words based on the *stā root illustrate, metaphors of standing determine our conceptions of time and space; they shape our understanding of existence and ecstacy; they are the tools and the subject of philosophy and painting, poetry and fiction, sculpture and law, history and psychology, anthropology and linguistics, archaelogy and teleology. Wherever, in short, humans have payed scientific or artistic attention to our status as human beings, we have done so through metaphors of standing.
And what is reflected and/or established in language is equally the case visually. Take this ancient Greek statue of a powerfully standing woman/goddess, her erect strength heightened by wings:
Saturday, September 27, 2008
Wednesday, September 24, 2008
For a book coming out in Belgrade in late October, the editor of Stubovi Kulture asked for a photograph of me to pair with a photo he had of my co-author Zarko Radakovic. I sent him several photos, each worse than the last; and after the email with attachments had been sent, I was left wondering, again, about photos and identity.
Sunday, September 14, 2008
Saturday, September 6, 2008
Near the end of her book "The First Word: The Search for the Origins of Language," Christine Kenneally writes the following:
Wednesday, September 3, 2008
Saturday, August 23, 2008
Friday, August 22, 2008
Just down the hill from our house in Woodland Hills stands this fine piece of installation art. Or is it garden art? Or, as I've wondered more than once, is it a monument to interdisciplinary studies gone horribly wrong?