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Published by the Nietzsche Circle Volume • VI • • • • • Issue • 1 • • • • • March • 2011 Volume • VI • • • • • Issue • 1 • • • • • March • 2011 published by the Nietzsche Circle Volume • VI • • • • • Issue • 1 • • • • • March • 2011 B o a r d • o f • A d v i s o r s Dr. Christa Davis Acampora Dr. Benjamin Moritz Cem Aydogan Hermann Nitsch Dr. Babette Babich Dr. Kelly Oliver Dr. Nicholas Birns Lance Olsen Dr. Arno Böhler Dr. Graham Parkes Dr. Tony Brinkley Keith Ansell-Pearson Dr. Thomas Brobjer Dr. Philip Pothen Mark Daniel Cohen Dr. Timothy Quigley Dr. Véronique Fóti Prof. Alan Rosenberg Dr. Terri J. Gordon Dr. Ofelia Schutte Dr. Jennifer Anna Gosetti-Ferencei Dr. Gary Shapiro Dr. Susanne Granzer Dr. Walter Sokel Pierre Hadot Dr. Stefan Lorenz Sorgner Dr. Lawrence Hatab Dr. Joan Stambaugh Dr. Horst Hutter Mark Strand Dr. David Kilpatrick Dr. Yunus Tuncel Joseph Kosuth Dr. Gianni Vattimo Donald Kuspit Paul van Tongeren Dr. Laurence Lampert Kim White Vanessa Lemm Colin Wilson Linda Lewett Patrick Wotling Paul S. Loeb Dr. Irvin Yalom Dr. James Luchte John Bell Young Tali Makell Gérard Zuchetto 1 Hyperion Volume • VI • • • • • Issue • 1 • • • • • March • 2011 Publisher: Nietzsche Circle, Ltd. Senior Editor: Rainer J. Hanshe Senior Editor: Mark Daniel Cohen PDF Design: Mark Daniel Cohen Logo Design: Liliana Orbach Advertising & Donations: Katie Creasy (Donations can be made at http://nietzschecircle.com) Nietzsche Circle Website Design: Hasan Yildiz (http://designkillsme.com) Nietzsche Circle Event Poster Design: Doerthe Fitschen-Rath Letters to the editors are welcome and should be emailed to [email protected]. Hyperion is published quarterly by Nietzsche Circle, Ltd. P.O. Box 575, New York, NY 10011, U.S.A. Website: http://nietzschecircle.com. For advertising inquiries, e-mail Andre Okawara: [email protected]. Contents © 2011 by Nietzsche Circle, Ltd. and each respective author. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, or any information storage and retrieval system, without permission in writing from Nietzsche Circle, Ltd. After one year, all rights revert to the respective authors. If any work originally published by the Nietzsche Circle is republished in any format, acknowledgement must be noted as following and a direct link to our site must be included in legible font in a conspicuous place: “Author/Editor, title, year of publication, volume, issue, page numbers, originally published by Hyperion. Reproduced with permission of the Nietzsche Circle, Ltd.” Hyperion—Volume VI, issue 1, March 2011 2 Volume • VI • • • • • Issue • 1 • • • • • March • 2011 SPECIAL ISSUE: JAMES PURDY JULY 17, 1914 – MARCH 13, 2009 This issue is dedicated to the memory of Jan Erik Bouman, friend to and supporter of James Purdy. Hyperion is published by the Nietzsche Circle Senior Editor: Rainer J. Hanshe Senior Editor: Mark Daniel Cohen 3 Hyperion Volume • VI • • • • • Issue • 1 • • • • • March • 2011 Introduction: From the Choir Invisible to the Cosmos: James Purdy or the Return of an Unseen Star by Rainer J. Hanshe 9 Malcolm, or the Charmed Life of Books by Marie-Claude Profit 29 ‘They Just Let Go’: James Purdy’s ‘Desiring Machines’ by Dr Richard Canning 43 Storyteller of the Unhomed Imagination by Donald Pease 63 Purdy’s Family Poetics by Christopher Lane 79 James Purdy’s Via Negativa by Don Adams 99 James Purdy: An Interview by Marie-Claude Profit 121 ‘Impossibly Narrow Rooms’ by Kevin Arnold 143 Hyperion—Volume VI, issue 1, March 2011 4 Volume • VI • • • • • Issue • 1 • • • • • March • 2011 Ready All The Time Like Gunpowder An Interview with Richard Hundley by Rainer J. Hanshe 159 Master of Ceremonies by Daniel T. O’Hara 187 In the Hollow of His Hands a poem by Fulya Peker 201 James Purdy: Bibliography compiled by Rainer J. Hanshe 205 James Purdy by Stathis Orphanos, photographer 229 Kate Simon, Photography 233 CALL FOR PAPERS Investigation of a Filmmaker Above Suspicion The Cinema Art of Elio Petri 235 5 Hyperion Volume • VI • • • • • Issue • 1 • • • • • March • 2011 ADVERTISEMENTS Fine Printing First Editions of James Purdy 8 The Acolytes by Rainer J. Hanshe 42 Coarctate: Antigone’s Return and Selected Poems by Mark Daniel Cohen 62 Ilan Averbuch: Public Projects Text by Mark Daniel Cohen 98 Izhar Patkin: Judenporzellan Text by Mark Daniel Cohen 119 Odes, by Victor Segalen translated into Italian by Maura del Serra 158 Tentativi di certezza, Poems in Italian by Maura del Serra 186 Hyperion—Volume VI, issue 1, March 2011 6 Volume • VI • • • • • Issue • 1 • • • • • March • 2011 EyeCorner Press: Latest Books 200 Titles from Archipelago Books Special Discount Offer for Hyperion Readers 203 Theory After Theory by Nicholas Birns 204 My Cavafy photographs by Stathis Orphanos poetry by Constantine Cavafy 231 Limited Edition Prints by John Lurie 232 Enquête sur un Citoyen DVD of a film by Elio Petri 237 Karen Gunderson: Constellations, Moons, and Water CLAMPART, New York City 238 PAGE 3 PHOTO CREDITS Left: James Purdy and Jan Erik Bouman Right: James Purdy photographed by Jan Erik Bouman 7 Hyperion Hyperion—Volume VI, issue 1, March 2011 12 n “On Reputation,” a chapter from Schopenhauer’s book on literature, the Iphilosopher classifies writers into four types, positing that there are meteors, planets, and both wandering and fixed stars. The meteoric writer is the most conspicuous and arresting, the type that seizes most people’s attention because its brilliance is alluring, but such writers are essentially ephemeral. Like meteors, while dazzling, they vanish quickly. The writers akin to planets and wandering stars seize the attention of the public for lengthier periods of time and are more formidable and scintillating than fixed stars.Although their impressive, clever, and witty qualities lead the public to mistake them for fixed stars, eventually, they cede their position to the fixed stars because the range of their impact is bound to the orbit of their contemporaries. Famed in their day, but later, less reverenced. The sole writers that Schopenhauer believes to be constant are the fixed stars. To him, “their position in the firmament is secure; they shine with a light of their own; and their effect today is the same as it was yesterday, because, having no parallax, their appearance does not alter with a difference in our standpoint. They belong not to one system, one nation only, but to the universe.”1 However, due to their distance to the earth, it generally takes a significantly greater degree of time for their light to become visible to most, though other more astute observers have witnessed them and traced their locus in the cosmos, for their antennae have been directed not merely to the world but to the universe, to that which others have ignored. As we proceed forward out of the 20th century, with this new distance, some of the fixed stars that many overlooked will begin to shine forth. Of the writers of that century who do not belong to one system or one nation, of the writers who gleam with their very own light, among them is the American writer from Hicksville, Ohio, and once longtime resident of Brooklyn, New York—James Otis Purdy. Thinking of him within Schopenhauer’s typology, clearly, he is a fixed star. Over the coming decades, what has been clear to those more astute observers will be obvious to those who were dazzled by the flash of the passing meteors and planets. In more ways than one, Purdy is a fixed star, and an eerie one at that, for the last two books published while he was alive2 tragically echoed in a peculiar way his very first two published books, drawing his life to an uncanny circle. Purdy’s novella 63: Dream Palace and his collection of short stories Don’t Call Me by My Right Name were both rejected by numerous American publishers in the mid-50s. At the behest of Dame Edith Sitwell—who became Purdy’s first and most important champion after receiving from him privately printed Previous Page and Last Page: Previous by Stathis Orphanos. are Photographs of James Purdy 13 Hyperion—From the Choir Invisible to the Cosmos editions of his works—both books were finally published by Victor Gollancz under the title 63: Dream Palace and featured an introduction by Sitwell, who deemed Purdy of “the very highest rank of contemporary American writers.” Subsequently, New Directions, which had originally rejected the same two works, published them under the title Color of Darkness. And here is the tragic echo: Towards the end of his life, despite his international reputation and despite having been translated into over 30 different languages, Purdy’s last novel, Gertrude of Stony Island Avenue, was first published in England by Peter Owen and only later published in America, just as was his first novella. Similarly, his last book of short stories, Moe’s Villa & Other Stories, was rejected by American publishers, released first in England by Avon in 2000, and then finally republished by Carroll & Graf under the auspices of Don Wiese in 2004. Once introduced by the likes of Sitwell, Paul Binding, Jerome Charyn, Edward Albee and other notable figures, Purdy became something of a cipher in his own country. Unlike his first book, Moe’s Villa did not contain an introduction by an internationally recognized author or literary critic of some stature. Instead, it was penned by Purdy’s longtime assistant, who is not known as a writer, has no publications to speak of, and is essentially unknown.3 Thus, at the end of his life, Purdy was oddly more obscure than ever, a fixed but occluded star. If Purdy’s public presence in the literary world dwindled decade by decade, and so much so that most of his books were out of print by the late 90s, he always had his champions as well as his devoted circle of readers.
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