Book Review - '2666,' by Roberto Bolaño. Translated by Natasha Wimmer - Review - NYTimes.com
Tags: jonathan_lethem, borges, book_review, south_america, mexico, novel, literature on 2008-11-17 -All Annotations (4) -About
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When so many accept as their inevitable subject the long odds the universe gives the aspirations of our species, degraded as it finds itself by the brutalities of animal instinct and time’s remorseless toll, books may seem to disqualify themselves from grace: how could such losers cobble together anything particularly sublime?
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Bolaño won the race to the finish line in writing what he plainly intended, in his self-interrogating way, as a master statement. Indeed, he produced not only a supreme capstone to his own vaulting ambition, but a landmark in what’s possible for the novel as a form in our increasingly, and terrifyingly, post-national world.
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“In it Lola told him that she had a job cleaning big office buildings. It was a night job that started at 10 and ended at 4 or 5 or 6 in the morning. . . . For a second he thought it was all a lie, that Lola was working as an administrative assistant or secretary in some big company. Then he saw it clearly. He saw the vacuum cleaner parked between two rows of desks, saw the floor waxer like a cross between a mastiff and a pig sitting next to a plant, he saw an enormous window through which the lights of Paris blinked, he saw Lola in the cleaning company’s smock, a worn blue smock, sitting writing the letter and maybe taking slow drags on a cigarette, he saw Lola’s fingers, Lola’s wrists, Lola’s blank eyes, he saw another Lola reflected in the quicksilver of the window, floating weightless in the skies of Paris, like a trick photograph that isn’t a trick, floating, floating pensively in the skies of Paris, weary, sending messages from the coldest, iciest realm of passion.”
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In the manner of James Ellroy, but with a greater check on both prurience and bathos, Bolaño has sunk the capital of his great book into a bottomless chasm of verifiable tragedy and injustice.
What Is Art For? - Lewis Hyde - Profile - NYTimes.com
Tags: art, creativity, society, copy_left, culture, literature, poetry, education, school, anthropology, creative_commons, shakespeare, emerson on 2008-11-17 -All Annotations (10) -About
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For the Copy Left, as for Hyde, the last 20 years have witnessed a corporate “land grab” of information — often in the guise of protecting the work of individual artists — that has put a stranglehold on creativity, in increasingly bizarre ways.
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Illich, an Austrian priest-cum-social-critic who drew wide public attention for his book “Deschooling Society” (1971) — a polemic against modern public education.
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Gift economies, as Mauss defines them, are marked by circulation and connectivity: goods have value only insofar as they are treated as gifts, and gifts can remain gifts only if they are continually given away. This results in a kind of engine of community cohesion, in which objects create social, psychological, emotional and spiritual bonds as they pass from hand to hand.
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For centuries people have been speaking of talent and inspiration as gifts; Hyde’s basic argument was that this language must extend to the products of talent and inspiration too. Unlike a commodity, whose value begins to decline the moment it changes hands, an artwork gains in value from the act of being circulated—published, shown, written about, passed from generation to generation — from being, at its core, an offering.
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C.T.E.A. was not only unfortunate but also unconstitutional. For Hyde, as for many legal and political scholars, the C.T.E.A. (the “Mickey Mouse Protection Act” to its detractors) represents a blatant abrogation of the purpose of intellectual-property law. As he sets out to show in his book, copyright was enshrined in the Constitution for civic rather than commercial purposes. For the founders, intellectual property was a great privilege; copyrights and patents were primarily meant to serve, in Madison’s words, as “encouragements to literary works and ingenious discoveries.” By extending copyright retroactively, Hyde told me, the C.T.E.A. negated the logic of incentive: Mickey Mouse can’t be invented twice.
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“All of the C.C. licenses use the lever of the law,” he said. “They have the assumption of private ownership behind them. So Lessig, in a certain sense, is confining himself to one slice of this stuff, which is not as capacious as a true commons would be.”
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“Shakespeare’s plays,” he writes, “will never collapse, no matter how many people read them — and such commons therefore serve as a kind of limiting case for the argument that the market will serve us well in every sphere of life.”
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There’s a line of Emerson’s from ‘Self-Reliance,’ ” Hyde told me one day in his office, “where he says of Benjamin Franklin: ‘Where is the master who could have instructed Franklin? Every great man is a unique.’ Well, it’s crazy! There’s a long list of masters who taught Franklin! And yet the Emersonian song is the one that sticks in everyone’s head.”
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The point of all this is not to prove that Franklin wasn’t a genius but to show that his genius didn’t burst out of thin air. “It takes a capacious mind to play host to … others and to find new ways to combine what they have to offer,” Hyde writes, “but not a mind for whom there are no masters, not a ‘unique.’ Quite the opposite — this is a mind willing to be taught, willing to be inhabited, willing to labor in the cultural commons.”
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In other words, “Walden,” the premier document of American individualism, was in a sense born out of the generosity of the American prophet of self-reliance.
Doris Lessing’s The Golden Notebook
an experiment in close-reading in which seven women are reading the book and conducting a conversation in the margins. The project went live on Monday 10 November 2008. It’s part of a long-term effort to encourage and enable a culture of collaborative learning. We don’t yet understand how to model a complex conversation in the web’s two-dimensional environment and we’re hoping this experiment will help us learn some of what we need to do to make this sort of collaboration as successful as possible.
Tags: fiction, literature, online_learning, women, doris_lessing on 2008-11-16 and saved by6 people -All Annotations (1) -About
in list: watch for responses
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Two Paths for the Novel - Zadie Smith (on "authenticity")
Tags: novel, literature, lit_crit, book_review, 911, philosophy on 2008-11-04 and saved by2 people -All Annotations (8) -About
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The centuries are duly canceled. What follows is a page of landscape portraiture, seen from a train's window ("Clouds steaming on the clifftops foxed all sense of perspective, so that it seemed to me that I saw distant and fabulously high mountains"). Insert it into any nineteenth-century novel (again, a test first suggested by Robbe-Grillet) and you wouldn't see the joins. The passage ends with a glimpse of a "near-naked white man" walking through the trees by the track; he is never explained and never mentioned again, and this is another rule of lyrical Realism: that the random detail confers the authenticity of the Real. As perfect as it all seems, in a strange way it makes you wish for urinals.
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It's a credit to Netherland that it is so anxious. Most practitioners of lyrical Realism blithely continue on their merry road, with not a metaphysical care in the world, and few of them write as finely as Joseph O'Neill. I have written in this tradition myself, and cautiously hope for its survival, but if it's to survive, lyrical Realists will have to push a little harder on their subject. Netherland recognizes the tenuous nature of a self, that "fine white thread running, through years and years," and Hans flirts with the possibility that language may not precisely describe the world
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An interesting thought is trying to reach us here, but the ghost of the literary burns it away, leaving only its remainder: a nicely constructed sentence, rich in sound and syntax, signifying (almost) nothing. Netherland doesn't really want to know about misapprehension. It wants to offer us the authentic story of a self. But is this really what having a self feels like? Do selves always seek their good, in the end? Are they never perverse? Do they always want meaning? Do they not sometimes want its opposite? And is this how memory works? Do our childhoods often return to us in the form of coherent, lyrical reveries? Is this how time feels? Do the things of the world really come to us like this, embroidered in the verbal fancy of times past? Is this really Realism?
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There was the chance to let the towers be what they were: towers. But they were covered in literary language when they fell, and they continue to be here.
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Why is the greatest facilitator of inauthenticity Asian? Why is the closest thing to epiphany a dead black man? Because Remainder, too, wants to destroy the myth of cultural authenticity—though for purer reasons than Netherland. If your project is to rid the self of its sacredness, to flatten selfhood out, it's simply philosophical hypocrisy to let any selves escape, whatever color they may be. The nameless "dead black man" is a deliberate provocation on McCarthy's part, and in its lack of coy sentiment there is a genuine transgressive thrill. Still, it does seem rather hard to have to give up on subjectivity when you've only recently got free of objectification. I suppose history only goes in one direction.
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A flashback-inclined Freudian might conjure up the image of two brilliant young men, straight out of college, both eager to write the Novel of the Future, who discover, to their great dismay, that the authenticity baton (which is, of course, entirely phony) has been passed on. Passed to women, to those of color, to people of different sexualities, to people from far-off, war-torn places. The frustrated sense of having come to the authenticity party exactly a century late!
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So, while Dorian Gray projects his perfect image into the world, Necronauts keep faith with the "rotting flesh- assemblage hanging in his attic"; as Ernest Shackleton forces his dominance fantasy onto the indifferent polar expanse, Necronauts concern themselves with the "blackened, frostbitten toes he and his crew were forced to chop from their own feet, cook on their stove and eat." And so on. Like Chuck Ramkissoon, they have a motto: "We are all Necronauts, always, already," which is recycled Derrida (as "blood like champagne" is recycled Dostoevsky). That is to say, we are all death-marked creatures, defined by matter—though most of us most of the time pretend not to be.
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For those who are theory-minded the INS manifesto in its entirety (only vaguely sketched out here) is to be recommended: it's intellectually agile, pompous, faintly absurd, invigorating, and not at all new. As celebrations of their own inauthenticity, the INS members freely admit their repetitions and recycling tendencies, stealing openly from Blanchot, Bataille, Heidegger, Derrida, and, of course, Robbe-Grillet. Much of what is to be found in the manifesto is more leisurely expressed in the chief philosopher's own "tomes" (in particular Very Little, Almost Nothing: Death, Philosophy, Literature[2] ).
A Universe of Books: Borges's 'Library of Babel'
Tags: literature, short_story, fiction, lit_crit, book_review, borges, math, philosophy on 2008-10-30 and saved by3 people -All Annotations (5) -About
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Barely nine pages long, "The Library of Babel" is nothing less than an attempt to describe the chaotic order and meaning of the universe, building on the ancient notion of the world as a book (or a book itself divided into an almost infinite number of books) in which we ourselves are written, and which we also attempt to read.
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Mathematics was one of Borges's lifelong passions; he considered it, with theology, a branch of fantastic literature. In his early childhood, Borges had been taught by his father the paradoxes of Zeno and the rudiments of algebra, and his writing abounds in references to magical mathematical imaginings, such as Leibniz's binary notation or Brouwer's map, which, as Guillermo Martinez demonstrated in his "Borges and Mathematics," lent Borges a framework or scaffolding for many of his fictions
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The numbers he chose for the shelves and books in his story, Borges later confessed, were simply those of the municipal library in which he worked — and which he himself found so horrible. "Learned critics," he noted later, with some evident pleasure, "studied these figures and generously lent them a mystical significance."
if:book: Greenblatt on human agency and New Historicism
Tags: fiction, literature, history, new_historicism, stephen_greenblatt, lit_crit, shakespeare on 2008-10-22 -All Annotations (5) -About
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Greenblatt has the power of reading closely, even if he doesn't read closely in the same way his mentors did; he still reads with "the rigor and excitement of the old New Critics." Henderson added that this historical moment is an excellent time for criticism, since "attention to detail and method is very important with a glut of information."
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the importance of thinking inside a text, rather than removing the text from its context (as in New Criticism).
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referring to the difference between New Historicism (a term Greenblatt himself coined for examining a text within the framework of history, culture, and sociology) and Cultural Materialism, a term for a branch of literary criticism stemming from Marxism that looks at a text not as an object, but as a process that is both politicized and historigraphical.
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Henderson added that the great question, then, was how to use history to tell a story. At the moment that New Historicism emerged, it put the individual back into the system (as opposed to high theory and Cultural Materialism). It was about America in individual lives.
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As a scholar, Greenblatt advised, decide when you have to cut yourself off; later you may know more but won't end up saying much more. You have to know when to stop. He said he had to learn for himself and his students to be responsible, but not to be so obsessive or so frightened. You must shape around the idea that you have a story to tell, for yourself and your readers.
OnFiction: Literariness
Tags: literature, psychology, lit_crit on 2008-10-17 and saved by2 people -All Annotations (1) -About
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Literariness, in this perspective, characterizes the experience of literature, not its possible interpretations; it is a way of regarding the text and its effects in itself, not in relation to some external reference to political, historical, or other issues (interesting though these may be).
What we write about when we write about sportswriting | Sport | guardian.co.uk
Tags: literature, poetry, athletics, football, book_review, italy, brazil, publishing, writing, books on 2008-10-09 -All Annotations (2) -About
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the likelihood of recouping the money was too low for publication to be an option, "even if Nick Hornby was offering to write it for nothing". Quirky volumes bound in fabric, or delicately illustrated, are fast becoming the equivalent of notoriously low-selling poetry.
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Football: Pure Poetry and Football: Pure Poetry 2 are proof that the quality and range of poets who love football are enormous.
The Grunge American Novel
Tags: literature, fiction, publishing_industry, marketing, book_review, writer, david_foster_wallace, 1990s on 2008-10-05 -All Annotations (1) -About
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To create that elusive, ephemeral entity known as buzz, the company compiled a list of 4,000 booksellers, industry insiders and media types and sent out a staggered series of six postcards that cryptically heralded the release of an at-first-unspecified book that gives ''infinite pleasure'' with ''infinite style.'' And when blurbs to that effect became available from other authors and critics, Little, Brown put them on postcards and dispatched another series of three. Says Paul Slovak, senior vice president of publicity for Viking Penguin, ''The promotional campaign has been brilliant.''
if:book: looking for lit in all the wrong places
interesting discussion all the way through
Tags: e-books, publishing, publishing_industry, literature, video_game on 2008-10-04 and saved by2 people -All Annotations (0) -About
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A History of the Future of Narrative: Robert Coover (ELO)
skip ahead to 25 minutes or so
Tags: digital_media, literature, e-books, publishing, history, writing, video on 2008-09-25 -All Annotations (1) -About
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- @ 29:00 digital authors...will learn how to reshape code for their own unique purposes...with the consequence of continual innovation, vanguard code work fostering vanguard literature...all forms of art and discourse are affected by digital...post by taryn930 on 2008-09-25
lots of talk on gadgetry, multi-modal forms of delivery
33:00 addresses the naysers, somewhat feebly
36:30 strong wrap-up - writers use the technology available to them
35:20 re-define the novel
New River Journal - Spring 08
mostly ?; roulette crashed the browser; note Factography
Tags: e-books, literature, written_for_the_web on 2008-09-25 -All Annotations (0) -About
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Is e-literature just one big anti-climax? | Books | guardian.co.uk
note no discussion of content
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Books special: Can intelligent literature survive in the digital age? - Features, Books - The Independent
see conversation with Kevin Kelly and Sven Bikerts
Tags: literacy, reading, literature, academia, fiction, e-books, publishing_industry, interview on 2008-09-16 and saved by3 people -All Annotations (13) -About
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- Michael Bhaskar's follow up: http://thedigitalist.net/?p=231post by taryn930 on 2008-09-25
"...188 million blogs seems to curl the lips and spike the arrogance of those who can’t see that this is now part of the writosphere as much as scribbling sestinas and neo-Freudian meditations on childhood.
Creative writing is as much about tweeting and posting on blogs as anything; or if not then it will be, or at least, if writers accept the challenge, could be."
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Birkerts found that, as watchers of TV and videos, "they had difficulty
slowing down enough to concentrate on prose of any density; they had
problems with what they thought of as archaic diction, with allusions, with
vocabulary that seemed 'pretentious'; they were especially uncomfortable
with indirect or interior passages, indeed with any deviations from straight
plot; and they were put off by an ironic tone, because it flaunted
superiority and made them feel they were missing something." It dawned
on Birkerts that a whole generation of young American readers were becoming
gradually decoupled from the whole culture of the written word. -
Twenty-five years ago,
when the Amis-Barnes-Rushdie generation was getting under way, readers
seemed to have no problem ' being steered towards experimental,
inward-looking, linguistically challenging fiction. Flaubert's Parrot sold
well, despite its metafictional games with biography, as did Amis's Money,
despite its torrentially exhausting Amer-English prose style. Graham Swift's
Waterland, now on school English syllabuses, flew out of bookshops in its
Picador paperback livery, as did One Hundred Years of Solitude and
Midnight's Children.
Now, many serious writers complain, challenging fiction doesn't appeal; "difficult"
novels don't sell. Adam Mars-Jones's massive, and beautifully-written novel
Pilcrow, published earlier this year, sold only a few hundred copies, and
there have been several similar casualties. Although, traditionally, every
Booker winner invariably becomes a world bestseller, the 2008 winner, Anne
Enright's The Gathering, made the briefest appearance in the top 10 before
disappearing. -
To sell now, books evidently need to be big on plot and incident, short on
interior monologue – the sort of titles that the Richard & Judy
Book Club strenuously promotes. "Most literary programmes, which are on
late at night and concerned with 'literature', intimidate lots of people,"
said Judy Finnegan last year. "For some, that a book has been
Booker-nominated is actually a turn-off." Can this, then, be the future
of reading: an increasing number of low-brow, plot-driven works will flood
the market, consigning works of literary merit to a watery grave, while the
low-brows vie with each other for the attention of readers so badly affected
by the moving stream of internet info-processing, that they can no longer
focus their attention for longer than a few pages? -
Add Sticky Note
The instructions tell you, "One battery charge is equal to 6,800 page
turns (that's enough to read War and Peace five times over on a single
charge!)" Yeah, right. But it's not going to happen on the Sony Reader.
Nobody is ever going to read Tolstoy on this fatuous device. It's an
electronic simulation of a page, but it'll never convince you it's a book,
to be read by your sentient eyes and brain. It doesn't have the solidity,
the pages, the tactile companionship of a book. You'll never know where you
are in the story, or how much of it is left. You won't have the cover
artwork, to steal inside your head and become a lifelong reminder of the
book it encased.
And you can't turn the pages. I spent half an hour reading Agatha Christie's
The Murder of Roger Ackroyd (the first book to be installed) with my fingers
itching to turn a page; "turn" one electronically, and the screen
goes blank before the next page is displayed. It's a nasty moment, the
screen going blank and interrupting your train of thought; but it's a good
metaphor for the blankness to which our minds are tending, as we gradually
lose the ability to interpret the old world of sequential thoughts in the
new blizzard of information retrieval.- pfft. the dramatics.posted by taryn930 on 2008-09-16
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The agent : Clare AlexanderAdd Sticky Note
- doesn't get itposted by taryn930 on 2008-09-16
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Our reading rooms are still as busy as ever: the most high-quality
digitisation does not replace the power of seeing the original artefact.
However, people are now more aware of what we've got -
The publisher: Jeremy Ettinghausen
"Penguin is the publisher that invented the paperback: innovation is in
our DNA. -
"Could you compare a blog or a story told via Twitter to Dickens? Well,
Dickens wrote in soap opera-like episodes. It's always easier to decide
where the cultural action has been, but hard to spot it at the time. These
things are happening and we need to adjust." -
Add Sticky Note
"Their interest is in the books reviewed in the broadsheets and the ones
that win the Booker. Their ambition is to be on sale in high-street
bookshops and published in book form by a mainstream publisher. That is, to
them, a badge, because it measures the value of their writing against the
writing they admire.
"Ahead of this interview, I talked to them about digitisation and not one
of them had heard of Twitter, and they were all hostile to the idea of
e-books.
"They're not immersed in digital fiction, either – some have been
published online, but feel it's second-best; they're concerned about the
lack of editorial control on the Net and only pursue it because there is a
dearth of [print] outlets for short stories.- crappy personalitiesposted by taryn930 on 2008-09-16
Cabinet Magazine Online - O Altitudo!: An Interview with Robert Macfarlane
Tags: interview, mountain_climbing, art, literature, landscape, climate_crisis, turner, ruskin on 2008-09-01 -All Annotations (0) -About
in list: the birds, the hudson valley
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Functionally, mountains are objectionable; agriculturally, they’re useless; and in terms of pilgrimage and trade, they’re obstructive.
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that fatigue, discomfort, sensory excess. Mountains disturb the spirit level of the perceiver’s mind, as well as the systems of the body, and so again and again we get anecdotes from those who’ve crossed the Alps in the seventeenth and eighteenth centuries and been somehow perturbed.
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wonder as prompting an urge to explain or to give an account. Confronted with a wonder, you are at first astonished, and then you wish to understand how you came to be astonished: wonder, for Descartes, is the root of science. The eighteenth-century sublime, on the other hand, is quite a vulgar form of affect in many of its manifestations: it obliterates all impulses except its own.
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the sublime can stop you seeing, oddly: it begins as a heightened response and ends as an ossified response that interposes itself almost totally between person and place.
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This is both an egotistical and a quashing experience: you see backwards in time, outwards in space, and are both uplifted and diminished by that experience. For whatever reason, that mixture of self-celebration and self-obliteration
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you’re inhabiting an inconceivably ancient landscape which is itself the present avatar of ghostly landscapes that once were. If you have a certain inductive quality of vision—such as that which Lyell’s work taught hundreds of thousands of people to have—you can see those ghost landscapes.
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So people like Ruskin and Darwin come to stand on mountaintops and are able to observe, or imagine they are observing, not what is there but what was there and what will be there.
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You could say that metaphor kills Mallory, that he was murdered by figure. For he is drawn to Everest not out of any fondness for the thing itself, but because he had been taught to love the idea of Everest, and all that it, in its superlativeness, represented. Mountains are—like all inanimate nature—entirely indifferent to their pictures and their picturers.
Is Any Mesh of Literature and Science Doomed to Reductionism?
Is Any Mesh of Literature and Science Doomed to Reductionism?
Tags: science_in_fiction, philosophy, richard_rorty, consilience, literature, lit_crit, evolution, literary_darwinism on 2008-08-31 -All Annotations (0) -About
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Blake Morrison on the healing power of reading | Books | The Guardian
too damn long
Tags: reading, literature, mental_health, shakespeare, poetry on 2008-08-31 -All Annotations (0) -About
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an attempt to see whether reading can alleviate pain or mental distress
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Crochet or bridge might serve equally well if it were merely a matter of being in a group
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"People who don't respond to conventional therapy, or don't have access to it, can externalise their feelings by engaging with a fictional character, or be stimulated by the rhythms of poetry."
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Plato said that the muses gave us the arts not for "mindless pleasure" but "as an aid to bringing our soul-circuit, when it has got out of tune, into order and harmony with itself"
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just as homeopathy is regarded with suspicion in conventional medicine, so bibliotherapy is bound to strike sceptics as a form of quack medicine. But considerable research has been carried out over the past 20 years which seeks to prove the healing capacity of the arts in general and literature in particular
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reading might be therapeutic in a variety of ways, not least in easing depression: "the pleasure of escape into a parallel world; the sense of control one has as a reader; and the ability to distance one's self from one's own circumstances by seeing them from without, suffered by someone else and gathered up into a nicely worked-out plot
100 books every child should read - An introduction by Michael Morpurgo - Telegraph
Tags: reading, education, children, literature, united_states, finland on 2008-08-31 and saved by3 people -All Annotations (0) -About
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Interesting that Finland finds itself at the top of a recent child happiness table as well as child literacy levels.
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the boy loved it because his mother loved it. He could hear it in her voice, in her laugh, in the tears in her eyes. He loved the fun, shared the sadness. He loved the music in the words. He never wanted storytime to end.
Then "unwillingly to school" he went, trudging the leafy pavements through pea-souper London smogs. From then on the stories were not magical, and they weren't musical either. Words were to be properly spelled, properly punctuated, with neat handwriting. They were not story words any more, but nouns and pronouns and verbs. Later they were used for dictation and comprehension, and all was tested and marked. A multitude of red crosses and slashes covered his exercise books, like bloody cuts.
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We have to stop proclaiming reading as a ladder to academic success. Treated simply as an educational commodity, some kind of pill to be taken to aid intellectual development, it is all too often counter-productive and ultimately alienating.
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We get ourselves all hot and bothered about the teaching of reading, about synthetic phonics and the like, and we forget that none of it is much use unless children want to read in the first place. The motivation must come first, horse before cart. We all know that unless a child is motivated to learn, then there will be apathy or resistance in the learning process.
Digital Technology and English Pedagogy
The authors suggest the web project serves as a possible example of a transitional pedagogy where two ways of organizing and presenting information — of writing — are used simultaneously and toward mutually enhancing ends.
Tags: literature, fiction, writing, reading, education, teaching, learning on 2008-08-28 and saved by2 people -All Annotations (0) -About
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We Design Stories: The Digital Fiction of Six to Start: Voice: AIGA Journal of Design: Writing: AIGA
Tags: fiction, literature, publishing_industry, publishing, e-books, interactive_graphic, written_for_the_web on 2008-08-27 and saved by2 people -All Annotations (0) -About
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“Like every other industry that is focused on people’s time, the book industry has to work much harder to capture readers,” says Hon. “Publishers are competing with anyone else who takes up your time and they’re asking themselves how to stay relevant.”
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it's rather boring, isn't it? You have to wait a while and watch the line, indicating the character's movement, as he rides on the subway or hops a cab. I was impatient very quickly. If this is an example of what publishing has in mind to compete for "the attention economy," I'd say they're kidding themselves. Nobody is going to sit with their face in their hands waiting for the green line to take them to the next spot for text. Also, there's nothing visually interesting about looking at the tops of buildings. You have no sense of the city, no sense of the architecture...not very good, I'm afraid.
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Reconstructing Mayakovsky www.reconstructingmayakovsky.com
Notation: * = Private bookmark and comment|… = Clipping [?] | … = Public highlight [?]
