[mfa MAIN] [Literature INDEX] [^^Main reading room of the Borges Library (HOME page)]
See also: -[Absurd Film]-
NOTE: Discussions of the absurd (which may indeed be LIT in
nature) but derived from a FILM are in the absurd-film
file; eg, Marx Brothers, Three Stooges, etc.
See also: -[Jorge Luis BORGES]-
-[Elena Garro]-
-[SurRealism, the Marvelous, etc]-
Absurd Lit
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{Rules is rules}
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"The Boss of it All" (Danish absurdist film)
http://www.culturewars.org.uk/2006-01/absurd.htm
Olaf Gambini - the nothingist
http://pdxpipeline.com/2009/09/02/olaf-gambini-visits-first-thursday/
http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=49579695&blogId=277226287
quote and EXTRACT:
Arni: This whole thing is ABSURD!! Like, like,
like something by Gambini.
boss: Gambini?
arni: Antonio Stavro Gambini
boss: "The Hanged Cat".
One act play, 1969
arni: Some say late 1968...
wife: Shit!
....
Rules is rules
RCOG - Rules of Civilised Engagement
(or not-so-civil)
1. Never waste a resource.
2. It is better to make an ally than a slave;
enslavement can come later.
3. There are no inferior races - only ones
that can be subjugated thru duplicity;
and made to believe they are inferior.
4. Even the most perfect systems will eventually
fall apart; despite the best efforts. Of course,
education and enquiry acound.
5. Never take something when asking may accomplish
more.
A friend is someone you can take advantage of until
they find out what you're really doing.
6. Fredome is an unquestioned illusion of all conquerors;
to own is to be more owned. Only someone/something to
protect can be robbed.
7. Knowledge is the one possession that can not be taken
away. Knowledge may become useless temporarily, but
its value *never* disappears entirely. Whenever you
think you know most likely it isn't so.
8. One person's rubbish is another's treasure. All trade
is based on knowing which is which.
9. Procrastination is the thief of time; entropy is the
detective - Leacock's rule #3.
10. If anything can go wrong, it will; can is always.
The Secret Laws of Clowns
1, People will almost always do anything to save face.
2. A friend in need is a friend indeed; suffering is universal.
3. A person witout a sense of humor is to be pittied; and feared.
4. Only the poor go to hell; the rich and powerful create it.
Igacio's 2nd law.
5. Always check for covert activity - esp when there are
boundary contacts/changes.
9. The pen is mightier than the sword (but only long term),
and most people are illiterate in both worlds.
10. Laughter is the best medicine and the most powerful
weapon - against the asault of laughter NOTHITNG can
stand. Twain's rule #12.
Lux Fiat
Dramatix Personae
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{Arson Marson}
{Doc Forester; Cow MD}
{Post Something-ism}
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{The Usual Suspects}
{The Oberiu Manifesto}
{Refs}
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Arson Marson
V1: Hi, I'm Arson Marson. Arson - as in burning down the house.
(laughs dryly) Ha, Ha.
V3: Actually he's Anson Marston.
V1: NO! It's Arson! As in burning down the orphanage.
V4: (cop around corner, trailing Arson)
Doc Forester - Cow MD
The recurrent dream - the elevator stops
-- cowns and economic nightmares
Garbage Dump
(random dialog, etc)
They say your family is worsening....
Post Something-ism
Concerning the whole "Yes, but isn't absurdist
just ANTI-this or that???" thing; Absurdist or
Post-modernist is ANTI-LITERATURE, or ANTI-REALIST.
These sort of "yes, but god doesn't exist" arguments
are more post-hoc ad-hominem (or ad-deum?). As Maltby
points out:
I prefer the use of the term [PostModernism] because
of the historical infalection it has recently acquired. Its prefix "post-" is gnerall read as signallygin a
"break" in aesthetic practice that radically separates modernist from p9ostmodernist art (a claim vigorously contested by some)[; eg, neo-modernism, or even the attempt to force some sort of neo-political, post-marxist, etc-ist interpretation, etc].
Clearly the legitimacy of postmodernism as, inter alia, a concept signifying a new order of aesthetci prqceis must rest on the identification of a new conjucture w2hich can assign that practic aan historically specific meaning. And it has been Fredrick Jameson's achievement to provid jus this
ink of conjunctuoral analysis.`
[Maltby, P. 23]
The Usual Suspects
(name - essential work)
Alfred Jarry - "Ubu Roi" -[wiki]-
Nicholas Gogol - "THe OverCoat" -[wiki]-
Arthur Adamov - "Amadee -or- How to get rid of it" -[wiki]-
Edward Albee - -[wiki]-
Fernando Arrabal - -[wiki]-
Samuel Beckett - "Waiting for Godot" -[wiki]-
Friedrich Dürrenmatt - -[wiki]-
Jean Genet - -[wiki]-
Bohumil Hrabal - "Too Loud A Solitude" -[wiki]-
Eugène Ionesco - -[wiki]-
Kaniil Kharms - -[wiki]-
Harold Pinter - -[wiki]-
Luigi Pirandello - "Six Characters in Search of an Author" -[wiki]-
Tom Stoppard - "Rosenkrantz and Guildernstern are Dead" -[wiki]-
Alexander Voedensky - -[wiki]-
Kaniil Kharms (Russian absurdist) [ref: Gibian, 1987] -[wiki]-
Alexander Voedensky (Russian absurdist) [ref: Gibian, 1987] -[wiki]-
The Oberiu Manifesto
Per notes from [Gibian, 1987, P. 245]
"Oberiu" was a word made up out of the initial sounds of
the words fro "Assoication for Real Art" (Ob'edinenie
Real'nogo Iskusstva). The souond 'u' was added at the
end just for fun.
Oberiu - from the Intro
Oberiu works with the House of the Press and unites those working in all forms of art who accept its program and apply it in their work.
Oberiu is divided into four sections:
literature,
fine arts,
theatre,
cinema
The fine-arts section carries on its work in experimanal ways; the other sections are presented at eventing programs, in stage productions and inprint. At this time Oberiu is organising a musical section.
Refs
Gibian, George (1987). The Man with the Black Coat:
Russia's Literature of the Absurd. Selected
works of Kaniil Kharms, and Alexander Voedensky.
DD: 891.742-R969M
Maltby, Paul (1991). Dissident PostModernists: Barthelme,
Coover, Pynchon.
DD: 813.5409-M261D
