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Viewing: Blog Posts Tagged with: st. augustine, Most Recent at Top [Help]
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1. Guest Post: Richard Hebert


Okay, here is a fun guy, witty and sharp. I had the pleasure of meeting Richard at the annual Florida Writer's Association banquet. We shared a few laughs and talked shop (writers do that, ya know). So, I tell Richard that I write fiction, mostly fantasy. He tells me he writes metafiction.

What? What is that?

Oh, it's fiction that is aware of itself. As the kids say these days, "Mind=Blown". I must be living a sheltered life, I've never heard of it before that night. It sounds fascinating and I want to try it. In the meantime, here is Richard telling about his novel and a little about himself. 


MINDWARP, A Novella …And Other Strange Tales

A committee of muses sits about the living room of my brain, discussing matters of no great import. A motley group they are, having just finished their pizzas—one pepperoni, one vegetarian, one combo—hold the anchovies.
“Why in the world is he doing this?” asks the chair-muse, finger-flicking crumbs from her robe….

Thus begins a journey into the mind of a “deranged author” (it says so on the back cover!) and his collection of short fiction, MindWarp, a Novella…And Other Strange Tales. Kirkus Reviews, the self-described “World’s Toughest Book Critics,” described the novella and accompanying eight short stories by author Richard Hébert this way:

This scintillating collection…uses offbeat character studies to wrestle with snaky issues of identity and self-knowledge. Hébert’s loquacious, usually anonymous narrators are obsessed with penetrating the riddle of the people around them.
In “MindWarp,” a nameless writer battens for inspiration on Guy, a working-class barfly who is almost elemental in his beaten-down ordinariness. Things get complicated when Guy begins an affair with the feisty, appealing Yolanda; the couple pushes back against the writer’s determination to “warp” their reality into a fictional celebration of heroic failure—until the writer himself seems to become the unstable, increasingly desperate creation of his own story.
Quirky, opaque figures abound in other stories; “Ana, Always,” about a Yugoslavian youth’s efforts to fathom the tragic mystery of a middle-aged woman, is a meditation on family and exile; “Silence,” a somewhat affected tale about a guilt-burdened war veteran who acquiesces in his wife’s affair with an ex-comrade, finds power in the evanescent fracturing of its hero’s personality. Only in “Azazel,” a comic gem about a mythical desert herdsmen who tends the world’s scapegoats until the powers that be decide he needs a ritzy California estate in which to receive humanity’s atonement, do we meet a man who thoroughly knows himself.
The author delights in mind games; the title novella is as much a commentary on the conundrums of fictional representation as it is a fiction. Fortunately, Hébert’s writerly conceits are rescued by the quality of his prose; his deadpan realism, mordant wit and acute powers of description ground his flights of abstraction in the soil of experience.
A beguiling blend of high-concept narrative and old-school literary chops.
Kirkus subsequently named the collection to its top 50 list of 2011 “Indie” books.
__________
Hébert is a former award winning investigative reporter and Pulitzer Prize nominee; a media relations manager and consultant; a nationally published magazine feature and documentary film writer, and world traveler. Many of his works of fiction, including the stories in MindWarp, were inspired by incidents encountered during his travels in Europe, Africa and North, Central and South America. He currently also writes a political blog – Richard’s Take – from his retirement home in St. Augustine, Florida.
His other published books include a memoir, Life Is Good; a novel, The Questing Beast, and Highways to Nowhere: The Politics of Urban Transportation



Mindwarp is available on Kindle: http://goo.gl/sr1zT



It is also available in paperback, BN Nook, and directly from the publisher, Author House.



Signed copies are available directly from the author: [email protected]


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2. The literature of shoplifting

I suddenly began to realize that everybody in America is a natural born thief,” wrote Jack Kerouac, who, alongside St. Augustine and Mark Twain, features in Rachel Shteir’s The Steal: A Cultural History of Shoplifting.

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3. Rembrandt Through His Own Eyes

Today marks the would-be 404th birthday of prolific Dutch painter/etcher Rembrandt Harmensz van Rijn, who was born in Leiden in 1606, and passed away in Amsterdam on October 4, 1669.

Cynthia Freeland is Professor of Philosophy at the University of Houston. Her most recent book is Portraits and Persons, and in the excerpt below, she considers Rembrandt’s many self-portraits, and speculates as to why he was so attracted to this art form.

Rembrandt was a particularly prolific self-portrait artist. Susan Fegley Osmond informs us that,

he depicted himself in approximately forty to fifty extant paintings, about thirty-two etchings, and seven drawings. It is an output unique in history; most artists produce only a handful of self-portraits, if that. And why Rembrandt did this is one of the great mysteries of art history.

There are numerous speculations about Rembrandt’s preoccupation with self-portraiture. “From youth to old age, Rembrandt scrutinized himself before the mirror, painting, etching, and drawing his changing physique and physiognomy as well as the varying psychological states that reflected the fluctuating fortunes of his life.”

A first concern that seems evident in these works, as with the previous artists I discussed, is Rembrandt’s social status and his identity as a gentleman. This concern shows up in his elegant garb, cloaks, hats, armor, and even in the poses in some of the images. Along with this is a concern with his artistic status and success.

Another conjectures about at least some of the images is that they are studies for paintings. Rembrandt used himself because he was a cheap, readily available model when he was planning certain sorts of composite history paintings or biblical portraits. This might account for the self-portraits showing extreme facial expressions, ones for instance where he is laughing or fearful. But these may also have been examples of a  genre called “tronies” which were popular at the time and had a good market.

At a deeper level, we can sense that Rembrandt is seeking to formulate and reveal a conception of his own psychological identity, the unique person that he was. This fits with the view expressed by Arthur Wheelock Jr., who notes:

[Rembrandt] was a singularly complex individual, who from an early age seems to have fostered the image that he was different from other men, and that neither his talent nore his success depended upon others or upon the good fortune that came his way.

Wheelock later comments,

Rembrandt’s earliest self-portraits are of particular interest because they demonstrate that the myth of Rembrandt as isolated genius did not first emerge in the Romantic era…but was fostered and developed by the artist himself.

Along these lines, art historians compare Rembrandt to more recent artists who have used the self-portrait as a form of experimenting with self-formation by trying on various identities (Rembrandt as the Andy Warhol of the seventeenth century!).

Like Cézanne more than two centuries later, Rembrandt employed the self-portrait as part of an effort to fashion the self, a s

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