For immediate release: The #radiobookclub people have picked a new book for the 5th edition of our famous live book club on the radio.
The time has come again for #RadioBookClub.
This is the 4th such edition we have done and this one should be really fun.
First, the logistics>>>
Date: 22 December 2015.
Time: 8:00 pm (probably)
Location: Fairfax Public Access Radio Radio Hotline.
Host: Dennis Price of Home Improvements by Dennis Price.
We will be reading Quicksand by Steve Toltz.
The publisher describes it as, “A daring, brilliant new novel from Man Booker Prize finalist Steve Toltz, for fans of Dave Eggers, Martin Amis, and David Foster Wallace: a fearlessly funny, outrageously inventive dark comedy about two lifelong friends.”
Should indeed be fun…and challenging.
Buy your copy at your local bookstore. I purchased mine from One More Page Books.
According to the Library Journal, Congress is debating whether to put a 10-year limit on the position of Librarian of Congress.
It has been a life-position since 1802.
According to the article, the Senate has already passed the bill unanimously – which has then sent it to the House to vote.
Curious, what do people think about this?
Supposedly, ALA is supportive of the change.
Thank you for reading.
(click on the image to be redirected to the posting at Open Culture)
Some of the items I am quite familiar with, but some I had not heard of – neither generally nor in connection with JLB.
“Jorge Luis Borges’ terse, mind-expanding stories reshaped modern fiction. He was one of the first authors to mix high culture with low, merging such popular genres as science fiction and the detective story with heady philosophical discourses on authorship, reality and existence. His story “The Garden of the Forking Paths,” which describes a novel that is also a labyrinth, presaged the hypertextuality of the internet age. His tone of ironic detachment influenced generations of Latin American authors. The BBC argued that Borges was the most important writer of the 20th century.
Of course, Borges wasn’t just an author. When not writing fiction, Borges worked as a literary critic, occasional film critic, a librarian, and, for a spell, as the director of the Biblioteca Nacional in Buenos Aires. His tastes were famously eclectic….
1. Stories by Julio Cortázar (not sure if this refers to Hopscotch, Blow-Up and Other Stories, or neither)
2. & 3. The Apocryphal Gospels
4. Amerika and The Complete Stories by Franz Kafka
5. The Blue Cross: A Father Brown Mystery by G.K. Chesterton
6. & 7. The Moonstone by Wilkie Collins
8. The Intelligence of Flowers by Maurice Maeterlinck
9. The Desert of the Tartars by Dino Buzzati
10. Peer Gynt and Hedda Gabler by Henrik Ibsen
11. The Mandarin: And Other Stories by Eça de Queirós
12. The Jesuit Empire by Leopoldo Lugones
13. The Counterfeiters by André Gide
14. The Time Machine and The Invisible Man by H.G. Wells
15. The Greek Myths by Robert Graves
16. & 17. Demons by Fyodor Dostoyevsky
18. Mathematics and the Imagination by Edward Kasner
19. The Great God Brown and Other Plays, Strange Interlude, and Mourning Becomes Electra by Eugene O’Neill
20. Tales of Ise by Ariwara no Narihara
21. Benito Cereno, Billy Budd, and Bartleby, the Scrivener by Herman Melville
22. The Tragic Everyday, The Blind Pilot, and Words and Blood by Giovanni Papini
23. The Three Impostors
24. Songs of Songs tr. by Fray Luis de León
25. An Explanation of the Book of Job tr. by Fray Luis de León
26. The End of the Tether and Heart of Darkness by Joseph Conrad
27. The Decline and Fall of the Roman Empire by Edward Gibbon
28. Essays & Dialogues by Oscar Wilde
29. Barbarian in Asia by Henri Michaux
30. The Glass Bead Game by Hermann Hesse
31. Buried Alive by Arnold Bennett
32. On the Nature of Animals by Claudius Elianus
33. The Theory of the Leisure Class by Thorstein Veblen
34. The Temptation of St. Antony by Gustave Flaubert
35. Travels by Marco Polo
36. Imaginary lives by Marcel Schwob
37. Caesar and Cleopatra, Major Barbara, and Candide by George Bernard Shaw
38. Macus Brutus and The Hour of All by Francisco de Quevedo
39. The Red Redmaynes by Eden Phillpotts
40. Fear and Trembling by Søren Kierkegaard
41. The Golem by Gustav Meyrink
42. The Lesson of the Master, The Figure in the Carpet, and The Private Life by Henry James
43. & 44. The Nine Books of the History of Herodotus by Herdotus
45. Pedro Páramo by Juan Rulfo
46. Tales by Rudyard Kipling
47. Vathek by William Beckford
48. Moll Flanders by Daniel Defoe
49. The Professional Secret & Other Texts by Jean Cocteau
50. The Last Days of Emmanuel Kant and Other Stories by Thomas de Quincey
51. Prologue to the Work of Silverio Lanza by Ramon Gomez de la Serna
52. The Thousand and One Nights
53. New Arabian Nights and Markheim by Robert Louis Stevenson
54. Salvation of the Jews, The Blood of the Poor, and In the Darkness by Léon Bloy
55. The Bhagavad Gita and The Epic of Gilgamesh
56. Fantastic Stories by Juan José Arreola
57. Lady into Fox, A Man in the Zoo, and The Sailor’s Return by David Garnett
58. Gulliver’s Travels by Jonathan Swift
59. Literary Criticism by Paul Groussac
60. The Idols by Manuel Mujica Láinez
61. The Book of Good Love by Juan Ruiz
62. Complete Poetry by William Blake
63. Above the Dark Circus by Hugh Walpole
64. Poetical Works by Ezequiel Martinez Estrada
65. Tales by Edgar Allan Poe
66. The Aeneid by Virgil
67. Stories by Voltaire
68. An Experiment with Time by J.W. Dunne
69. An Essay on Orlando Furioso by Atilio Momigliano
70. & 71. The Varieties of Religious Experience and The Study of Human Nature by William James
72. Egil’s Saga by Snorri Sturluson
73. The Book of the Dead
74. & 75. The Problem of Time by J. Alexander Gunn”
(accessed 11 October 2015)
One thing that seems to have gotten lost in the current conversation about access to information in libraries, scholarly communication (by way of Open Access Journals etc) is the notion that these technologies do not very well represent the past.
The Digital Humanities folks seem to be the best workers toward goals of representing the past with their digitization projects and increased contextualization of those documents. The time one takes to learn a subject is also an exhibition of time itself connected with artifacts, ephemera, books, and archived websites.
I mean, design in the networked era is always changing but there is nary a place to appreciate the web itself as a historically situated technology and tool that collects history.
The Internet Archive is the only place where the history of the internet can be browsed.
But that is only one place. Might we need an archive of the archive? You know, Lots of Copies Keeps Stuff Safe (L.O.C.K.S.S.). Yes, a micro-tangent.
They do offer a service (for a fee) for cultural heritage institutions called Archive-It, with which libraries, universities, museums etc can curate web crawls (collections of specifically chosen internet archives). This has some value. I worked with this tool a few years back at Folger Shakespeare Library.
But the main issue I see with the internet, digitized objects, born-digital resources, e-books, etc (and their archiving) is that the objects themselves, the files (be they DRM free, MP3, .PDF, .JPEG Open Source or Free Software tools, etc) is that the marks of history fail to make any impression on the objects themselves. These objects (say, digitized manuscripts from the 16th century in Arabic) may be surrounded by dates, historical contextualization and narrative, but are not, in my view, fundamentally distinguishable from an object created just 15 minutes ago. The encoding of the object is the same and the viewing is from the same point-of-view – – – from a screen or networked device of some kind.
Books and paper do not have this trouble. Each copy of an analog object is physically dis-ambiguous from its “exact” copy right beside it AND the travels and journeys (its history) will become evident increasingly over time because we live in a physical world. The networked age and digital agenda can not represent this fact. It can only state it – a fundamentally different thing.
Libraries and museums as physical spaces full of physical objects CAN and DO represent the past in a more visceral mode.
Thank you for reading.