Albert Camus talks with Pierre Dumayet about his stage adaptation of Dostoyevsky’s “The Possessed”, (also known as “The Devils” and “Demons”), in 1959, a year before his death in an automobile accident.
To understand the alchemy of Far From Men, it helps to recall the story that inspired it. “The Guest” is not as well known as Camus’s classic The Stranger, but it is a favorite text for teaching the history of decolonization.
The pleasure of watching Paul Thomas Anderson’s adaptation of Thomas Pynchon’s Inherent Vice, much like the pleasure of reading Pynchon’s novels, is, however, to be found elsewhere, and those who insist on having tidiness of structure and an ending that unites the various elements of the story into some satisfying whole are likely to find Inherent Vice frustrating.
Both Derrida and Ronell suggest that saying yes is “telephonic,” both in the sense that it resounds over a distance and therefore always is affected by distortion and delay, and that the telephone as technological apparatus not so much adds to these inherent obstructions as it stands model for them.
Today I ran without music. When I run this way my head boils out, matter shooting everywhere like water on hot oil. Phrases reach me and mostly move away before I can trap and extend them into actual thoughts.
Today I introduced Facebook to someone older than me and had a long conversation about what the point of networking amongst “friends” is. The person was so skeptical because to her stranger and distance-shaped intimacies are diminished forms of real intimacy.
Most of the writing we do is actually a performance of stuckness. It is a record of where we got stuck on a question for long enough to do some research and write out the whole knot until the original passion and curiosity that made us want to try to say something about something got so detailed.