What is Art? Part 1

People often ask me, after some time, for my definition or understanding of art. What is more important: to define or to understand? Art cannot be defined so it’s better to try and explain how it can be understood. The way I understand art is not definitive. Different kinds of artworks demand different standards and criteria, if not values. It is true for every discipline: how can you judge ballroom dancing the same way as hiphop? How can you judge a novel on the same terms as a poem? How could you compare techno to bluegrass? You can and you can’t; it is both true and unjust. Continue reading “What is Art? Part 1”

Morality in Camus’ “The Guest”

Camus, in “Revolution and  Repression in Algeria (1958), writes on the burden of his writing: his words could unknowingly serve as justification to radical commentary or to radical action, especially in the “drama of Algeria” (Camus wrote specifically on the struggle Algeria endured seeking independence from French colonialism). Camus denounces the elitism of ideology and separates himself from those who think “one’s brother must die rather than one’s principles.”

In “The Guest”, a man only referred to as “The Arab”, is arrested and brought to Daru, a local educator, by the Corsican policeman, Balducci. Balducci has been ordered and orders Daru to deliver The Arab to the police. Daru refuses, it is beyond his scope of duty (as a teacher) he says but, Balducci insists that in times of war, one’s duty is one’s country takes on new forms. This painfully reminds me of our current country’s dilemma with equipping teachers with firearms to protect children from school shootings. Is it truly the duty of a teacher to do this, even in the most dire of times? Daru still refuses, though he agrees to sign Balducci’s papers, which passes the responsibility of the prisoner onto Daru. Continue reading “Morality in Camus’ “The Guest””

The Burden and Lightness of Choice in “The Garden of Forking Paths” by Jorge Luis Borges

“The Garden of Forking Paths is a ‘garden’ created by P’engs’ great grandfather, Ts’ui Pen, who renounced a life of science and politics to write a novel and construct a labyrinth. Stephen Albert, the keeper of the Garden, enlightened P’eng (and us): that they were the same task. “Everyone imagined two works; to no one did it occur that the book and the maze were one and the same.” It is a story of infinity.

The Garden of Forking Paths is the life of choice. It is a story that describes the endless possibilities of a single choice; it tells us all the conceivable outcomes. In one regard, it leads to dread and anxiety and in another, it leads to acceptance: this is just the way things are.

Simultaneously, you should feel the burden of choice an the lightness of surrender. The burden is knowing that you will never be able to have another chance to enact an exact sequence. It is the case that:

a) A -> B -> D  and
b) A -> C -> E  and
c) A -> C -> B -> F

Continue reading “The Burden and Lightness of Choice in “The Garden of Forking Paths” by Jorge Luis Borges”

The Mythology of Sexes: Secrets, Lies, and Doubt in Atwood’s “Happy Endings”

The first three sentences of “Happy Endings”:

“John and Mary meet.
What happens next?
If you want a happy ending, try A”

Readers, I did not read A. This essay is on the secrets, lies, and mythologies between the sexes and on what makes up the “good stuff” of writing.

Happy endings don’t make good stories. If life was a story, I’d want a good story, not a plain one, and a story in which all goes well isn’t any good, and quite short, to be frank. When I finally read “Ending A”, Atwood gathered all sources of happiness together into a basket–love, marriage, sex, great friends, great jobs, vacation, kids with help, retirement, and stimulating hobbies—and it wasn’t enough. It isn’t a story you’d read or a movie you’d watch, so how can that be considered a life worth living?  Continue reading “The Mythology of Sexes: Secrets, Lies, and Doubt in Atwood’s “Happy Endings””

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