Closed circuit: You Are Here

A lecturer (R.D. Reid) stands before a projected image of rolling waves. He should like to instruct us in serenity and solitude. He warns us against the perils of allowing our eyes to follow the red dot darting across the screen, emanating from his laser pointer. The threat of the red dot isn’t specified, but the lecturer’s warning, stated at the very start of You Are Here, Toronto video artist Daniel Cockburn’s feature debut, serves as a reminder that there may still be something dangerous about taking instruction, submitting to direction, or simply watching a movie.

Such deliberately vague portent clings to every new realm of activity introduced in You Are Here: the discovery made by a bunch of people named Alan (not a typo) of a door where there should not be a door; the control centre where dispatchers give directions to individuals walking the city streets, emissaries whose trajectories are without apparent purpose save the avoidance of convergence; the prisoner (Anand Rajaram) who has pages of Chinese script shoved under the door and must then consult a voluminous text entitled What To Do If They Shove Chinese Writing Under The Door; the abandoned things appropriated by a self-appointed archivist (Tracy Wright), each containing recorded information, in varying formats, that may or may not add up to anything yet compel her to provide them with a home.

Each realm of activity, or thought experiment, constitutes a plastic component of You Are Here’s ornate circuitry—which is itself the film’s protagonist. At times this circuitry hints at a critique of technology’s promise to track and organize every last item in the world for posterity; at others it alludes to forms of interconnectivity that can only be understood once the individual (ie: one of those emissaries told not to interact with the other emissaries) rebels agains the dominant hegemony. Which is to say that You Are Here is playful, enigmatic and very cerebral. If the larger meaning strikes you as elusive, then you’ve just about got the point.

Press materials and clippings about the film keep invoking Jorge Luis Borges (though, given the film’s interest in found things and urban geography, I think Paul Auster is a more apt literary allusion) and Charlie Kaufman (though, given the film’s preoccupation with interlocking structures, I think Christopher Nolan is a more apt cinematic allusion), but such comparisons should come with one major caveat: each of these artists are storytellers (yes, Borges included), as engaged with narrative and character, with form and meaning, as they are with metaphor. You Are Here is fun, smart, inventive, and enjoyably puzzling—to be sure, I recommend it—it’s also pretty cold, and satisfies itself above all through the realization and careful arrangement of its concepts.

You Are Here is now playing at Toronto's TIFF Bell Lightbox. It opens at Edmonton's Metro Cinema next Monday.

Everything merges with the night: New Directions renews Borges with Everything and Nothing

Among the most memorable moments in Jorge Luis Borges’ 1939 melancholy story ‘Pierre Menard, Author of the Quixote’ is the comparative analysis of a passage from Miguel Cervantes’ Don Quixote with a like passage from the unfinished Quixote written by the recently deceased Menard, a writer who sought not to “compose another Quixote… but the Quixote itself.” The passages in question are, inevitably, identical—or so it might appear. Borges notes a “vivid” contrast in style. He finds Menard’s Quixote “more subtle” than Cervantes’. Each time I revisit ‘Pierre Menard’ I laugh at this masterstroke of absurdity, yet upon consideration the conceit isn’t absurd in the slightest. Borges attests that Menard’s quixotic desire to re-create Don Quixote enriches the art of reading. Time changes words, context changes the nature of literary ambition—what Milan Kundera refers to as the “consciousness of continuity”—and Borges, a great advocate for re-reading, implies that every reading of a text offers us a new text.

The durability, or should we say re-readability, of Borges’ work, not to mention its considerable foresight with regards to the still-unfolding destinies of art and technology, is surely the central reason why there have been so many Borges collections, the latest in English being Everything and Nothing (New Directions, $12.50), one of ND’s ‘Pearl’ series of affordable, sturdy paperbacks with clean, modern designs. The back cover informs us that Everything and Nothing “collects the best of Borges’ highly influential stories and essays,” a claim obviously open to dispute—there is no ‘Aleph’ here, no ‘Funes the Memorious’—yet finally untroubling, since what matters to me at least is that there remain enticing, accessible editions of Borges out there to be discovered by new generations, and for such purposes Everything and Nothing is a welcome new product. ‘Pierre Menard’ opens the book, followed by ‘Tlön, Uqbar, Orbis Tertius,’ which describes the contents of the eleventh volume of A First Encyclopedia of Tlön, a book left in a bar by one Herbert Ashe, a deceased English railway engineer. The Encyclopedia offers some of the philosophical notions held by the inhabitants of Tlön, a presumably non-existent planet that nevertheless boasts sophisticated theories of time, views metaphysics as a branch of fantastic literature, and believes that all books are the work of a single atemporal and anonymous author.

The sequencing of these stories is inspired, since there are fascinating and provocative ideas raised in ‘Tlön’—particularly those concerning literature and authorship—that enrich our reading of ‘Pierre Menard’ retroactively. This tactic seems to backfire however in the placement of ‘Borges and I’ just before ‘Everything and Nothing,’ two pieces whose too-obvious similarities discourage the reader from appreciating their disparate characters. A relatively minor offense, of course, and quickly forgiven once we move onto Everything and Nothing’s final selections, a pair of lectures taken from the elegant and elegiac late collection Seven Nights. In ‘Nightmares’ Borges considers the possibility that dreams are a form of fiction, that life may be a dream and we are all each dreaming each other, that dreams may be our “most ancient aesthetic activity.” In ‘Blindness’ he considers the secret virtues of the titular affliction, comparing his own blindness with that of other authors throughout history, as well as other librarians, noting the irony of his—it turns out, non-unique—situation of being appointed director of Argentina’s National Library just as he was seriously beginning to lose his sight. He ends this moving essay with a phrase from Goethe: “everything near becomes distant.” Typically for Borges, with a minimum of words, Goethe’s words are ruminated upon in such a way that its application to the condition of blindness balloons outward until each of us seem caught up in this sense of all things slipping out of our grasp, the universe expanding and urging us to never forget that we are on unstable ground and must never cease to reach out for new sources of wonder, and warmth.

Vibration analysis: The Shaking Woman

“At one time or another all of us go to pieces,” writes Siri Hustvedt, “and it isn’t necessarily a bad thing.” I first heard of Hustvedt though her husband, the writer Paul Auster, and first encountered her writing through Mysteries of the Rectangle, her collection of astute, insightful, and engagingly personal essays on various works of visual art, before digging into her novels, starting with her debut, The Blindfold, which among other things fictionalizes her experiences with chronic debilitating migraines. Her new book, The Shaking Woman, or a History of My Nerves (Henry Holt, $28), is a relatively slim memoir and a seeming departure from her body of work. Yet The Shaking Woman is in many regards a synthesis of nearly every major theme she’s ever dealt with. It’s a nonfiction, existential detective story with faint promise of any neat resolution, concerning the search for a missing diagnosis. It explores lingering mysteries of behaviour and perception, of the body and the mind—if you’ll excuse the dualism—while attempting to uncover established facts with a discipline and fervor rare in writers of fiction. It’s at times scary, always fascinating, and a pleasure to read.

The Shaking Woman was prompted by an experience Hustvedt had in 2006, two years after the death of her father. She was giving a speech in his memory at the university where he taught when her body began to violently convulse. She was already in her 50s by this point and had no history of seizures. As her limbs began to shake and flail, she noticed that her ability to speak wasn’t impaired in the slightest. She gripped the edges of the podium and went ahead and gave the speech while from the neck down her body went nuts. The shaking woman returned three more times, once while giving another public presentation, once while appearing on a low-key Norwegian television programme, and once while hiking in the Pyrenees. The attacks are obviously triggered by something more than stage fright, a particular memory, or repressed mourning. Four years have passed and Hustvedt still doesn’t know where this shaking woman came from.

“I can’t really see where the illness ends and I begin,” writes Hustvedt, addressing how neurological or psychiatric illness is identified with self in a way that corporeal illness isn’t. A large part of this book is devoted to trying to come to terms with what feels like an experience with a separate Other, despite the fact that this Other comes from within. Hustvedt provides readers with a brief history of hysteria, a condition and/or a term that’s been used and abused, discarded or renamed, yet whose real significance remains ambiguous. She consults a number of doctors, both real and imagined, including psychiatrists, a group who, despite her obvious interest in psychology, she’d previously avoided. “I have the vague sense that there are hidden recesses of my personality that I am reluctant to penetrate,” she writes. “Maybe that’s the part of me that shook.”

Hustvedt at one point describes the shaking woman as “a speechless alien who appears only during my speeches… an untamed other self, a Mr. Hyde to my Dr. Jekyll, a kind of double.” She interrogates the shaking woman, and tries to befriend her. She emphasizes the essentiality of language to reflexive self-awareness, of putting together words so as to find meaning through making a story of one’s life. Of course, she questions that, too. “Am I looking for a narrative,” she asks, “a confabulation, to interpret a debility that is no more and no less than synaptic wiring and firing?” Yet she accumulates ample evidence of the scientific and therapeutic value of storytelling, quoting physician Rita Charon, who describes how “narrative knowledge, by looking closely at individual human beings grappling with the conditions of life, attempts to illuminate the universals of the human condition by revealing the particular.”


While hurling herself into what seems a very personal search it’s interesting, and endearing, to observe how Hustvedt is continually fascinated by other people, among them Neil, the boy who can remember things exclusively through the act of writing, only to forget the information written as soon as he sets down his pen; Bertha Pappenheim, Breuer’s famous hysterical patient who lived with a “double consciousness,” one basically normal, one who was always observing the other from the outside; S., the man from whom everything was involuntarily associated with images, even numbers and individual words, so that reading a single sentence overwhelmed him with myriad detailed and competing pictures; or the psychiatric patients to whom she teaches writing. Hustvedt also looks to fictional people for help in her investigation, such as Tolstoy’s Ivan Ilych, unable to accept death, Dostoyevsky’s epileptic Prince Myshkin, or Borges’ Funes the Memorious, who can’t forget a thing.

Hustvedt is a truly voracious reader, as fascinated by psychology, philosophy and science as she is by art, poetry, and fiction. At times her points of reference are so esoteric, so indicative of deeply obsessive research, as to be nearly comical. I had to laugh out loud when she pulled a quote from Major Trends in Jewish Mysticism. Yet this all-inclusive devouring of literature provides Hustvedt with a healthy skepticism, a view of various phenomena so broad and alert to contradiction as to keep her from latching too readily onto any one theory, however fashionable. It allows her to be as judicious as she is promiscuous, so that every time she seems in danger of losing the thread, of digressing far off from her personal detective story, she always manages to loop back to the essence of her search and feed it with more insight and precision. “The search for the shaking woman takes me round and round because in the end it is also a search for perspectives that may illuminate who and what she is.” And, inevitably, what Hustvedt comes to accept is that the shaking woman is her, or one part of her, an individual like any other, unfixed, unimaginably intricate, and alive.

Island in the stream: The Invention of Morel

Adolfo Bioy Casares, 1968

In his prologue for the original 1940 edition of The Invention of Morel, Jorge Luis Borges makes an impassioned and, unsurprisingly, hugely articulate defense of fantastic literature. He laments its denigration, citing Robert Louis Stevenson’s reports on the British reading public’s scorn for the fantastic back in 1880 before continuing to note the disapproval it drew through the ensuing decades. I wonder what would Borges think of today’s climate, where the fantastic has gained considerable acceptance both among the general public and the literati, yet is so often employed either ironically, as an ingratiating nostalgic device, or in works of juvenile fiction that cross over into an adult reading public for reasons that may have much to do with a longing for the sort of strong narrative many fear has been forsaken by the authors of what we bizarrely choose to call literary fiction. (As opposed to non-literary fiction?) Of course, even now, in the year of the death of J.G. Ballard, the adult-geared, diverting yet thematically rich fantastic abides—most excitingly in the work of Spanish novelist Albert Sanchez Piñol, whose first two novels I'll be writing about later.

But among the attributes that remain so extraordinary about The Invention of Morel is this short novel’s simultaneous homage to its forebears and its tremendous prescience. It looks backward, most openly to Clemente Palma’s XYZ and to H.G. Wells and The Island of Dr Moreau, and forward, most especially to the ontologically vertiginous novels and stories of Philip K. Dick, with which it shares a special gift for scenarios so resonant as to inspire a kind of terror that never really leaves you, and most recently to the game Myst and the television show Lost. It’s author, Adolfo Bioy Casares, was only 26 at the time of its publication, yet his prose reveals a precocious blend of ambition and humility (“I don’t strive to make a big hit,” he wrote of the novel’s genesis, “just to avoid errors”), the result being vivid clarity in constant tension with near-baffling mystery.

Avoiding a prison sentence, a man flees to an apparently uninhabited island. A small group constructed a museum, a chapel, and a pool there in 1924 and then vanished—the island is said to host a grotesque, fatal disease. The fugitive is, we’ll learn, Venezuelan, though he seems to have traveled widely. We never learn the precise nature of his crimes. He is writing two books: Apology for Survivors and Tribute to Malthus. He’s also developing theories about immortality. He’s smart, smart enough to actually interpret the strange events he’ll soon encounter, but of the fact that he’s evading one kind of prison for another he seems not entirely cognizant. Much to his initial alarm, he’ll be joined by a group of tourists, including a woman, possibly Quebecoise, with whom he falls hopelessly in love. Yet rather than threaten his liberty, they seem not to notice him at all. What’s more, they seem to be repeating the same actions over and over. The repetition, combined with the apparently unbreachable distance that separates him from the woman he’ll learn to call Faustine, only intensifies the fugitive’s longing. (Bioy Casares was apparently drawing upon his own fascination-from-afar with the actress Louise Brooks.) As Ocatvio Paz would later characterize it, the novel conveys how in our longing for what we cannot touch “we bow to the tyranny of a phantom… not only do we traverse a realm of shadows, we ourselves are shadows.”

Bioy Casares with Borges

Bioy Casares with Silvina Ocampo

Even if he had never written a word, Bioy Casares would have a hallowed place in the literary pantheon of Latin America, and his home country of Argentina especially, by mere association: he befriended Borges in 1931, and the pair would go on to collaborate on a number of ventures, beginning with a pamphlet on the virtues of yogurt; and in 1940 he married Silvina Ocampo, another magnificent author of peculiar and bewitching imaginative powers. (Their complimentary yet distinctive styles and subjects, as well as the unusual conditions of their romantic relationship, align them to another sublime pairing of 20th century talents, that of US authors Paul and Jane Bowles.) My fear that Bioy Casares may be forgotten by much of the non-Latin world seems confirmed by the fact that for all of the wonderful supplementary essays, testimonies and documentaries on the Criterion Collection’s new deluxe two-disc edition of Last Year at Marienbad, mention of the pivotal influence of The Invention of Morel on that film is nowhere to be found. It’s a shame, since knowledge of one only enhances the reading of the other.

As with Marienbad, the “rotating eternity” that streams through the fugitive’s experience on the island, the sense of moments that always build toward a point that can never come to fruition, create a fusion of elements that penetrate the emotions as deeply as they do the intellect. That says something. And we’re so much closer to actually living the fantasy of The Invention of Morel; to the merging of the fugitive’s dreams of immortality with that of the scientist who visits his island—and who the fugitive fears may be be wooing his beloved Faustine; to the synthetic duplication of experience that in allowing us to, in some sense, live forever, is also draining us of life. But don’t let me spell all of this out for you—Bioy Casares does such a perfect, surprisingly lucid job of guiding us through this labyrinth. Go back to him. There’s a wonderful edition of the book still in print from New York Review Books Classics ($12.95 US/$16,95 Can.), translated by Ruth L.C. Simms and complete with Borges’ prologue, a very informative introduction from Suzanne Jill Levine, and the original illustrations by Borges’ sister, Norah Borges de Torre.