JUDY KRAVIS

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Thursday, 28 March 2019

Kathy Acker suits and doesn't suit overwrought lives. I read a page or two of Great Expectations for the bam bam bam, the bumpy jolty, the loud rending sound — it's less like reading and more like overhearing conversations on the train — there's a kind of consistency, messy, and you can be fascinated and then abruptly not want to read, not to hear any more, just fix a stare at the middle of Ireland, the middle of anywhere, Portugal, for example, or Italy.

At other times of the day and night I have been reading Italo Zvevo Confessions of Zeno (which has been reissued, I noticed in Dublin the other day) which isn't very confessional beside Kathy Acker, who isn't very confessional beside Proust, who isn't any more than Freud or Dear Frankie. Kathy Acker and Italo Zvevo tango past the equinox. Sometimes this is as much I can read, when I'm reading the hill I live on day and night too.

Sunday, 17 March 2019

Lynne Tillman is an interesting intern to have on a trip; she doesn't let up or let out, even at the end. American Genius, A Comedy, has been on my shelves for about 12 years. The last time I read it there was an after-image like the scene in Fahrenheit 451 in which ghostly book persons walk and read in their heads to and fro in the mist. This time, wandering about Alentejo in Portugal, we are in tandem. Lynne Tillman's prose runs in bursts of a few pages, returning often to her skin & her gut & her cat & the other inmates of wherever she is staying, an artist residency, in all likelihood, in New England, which gave rise to or at least accommodated this long recessive wander into her life, and, as I move on this ramble of a holiday from Azoia to Evora to Alvito and other small towns and villages often beginning and ending with vowels, into my life. I do not have such a sensitive skin as our narrator—I am annoyed she calls herself Helen when all the time she is Lynne—but I sneeze royally, as integral to my being, and I can have a sensitive gut. We both have things to say and do about chairs. On this reading, on this trip through gloriously wild and quiet Alentejo, I can relate entirely to the run of her preoccupations, the past interleaving with the present, the cat with the dog, the dead with the living and all their sensibilities, followed by a well-anointed bath.

Sunday, 3 March 2019

The Master and Margarita by Mikhail Bulgakov looked like a good choice for away reading. My edition is a relaxed, well-printed hardback from 1967 with a well-defined sunshine mark, yellow on the blue cover and spine. I have gone past it often on the shelves but have not been tempted to re-read. Bookless in Portugal seemed a good moment. At the last attempt I got as far as the second chapter on Pontius Pilate and lost patience. This time I skimmed Pontius Pilate, and limped through another chapter or two, unwilling as with food you can't eat for long.

Written in Stalin's Russia, the level of evasion and thickness of satire is more than I can bear: unusual strangers with jovial supernatural gifts, (the devil is always happy, I suppose), hauntings, vanishings, black magic, black cats, talking cats, a range of happenings and satire whose target is noisily suppressed. No, I can't read this, even if it inspired Mick Jagger. I'd rather listen to Sympathy for the Devil. Mick Jagger would be closer than I am to a Bulgakov who went back to religion to demonstrate freedom.

Holiday reading will be Lynne Tillman and Kathy Acker, who were both born the same year as me, both jewish and savage. They make the satire on Stalinist Russia look binary/scholarly. I will ramble around Alentejo, Portugal, with Tillman and Acker, and from the first page, on the plane out, I expect, I'll hear a loud rending sound.