I remember / je me souviens
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

For those limbic bursts of nostalgia, invented by Proust, miniaturized by Nicholson Baker, and freeze-dried by Joe Brainard in his I remember and by Georges Perec in his Je me souviens.

But there are no fractions, the world is an integer
Like us, and like us it can neither stand wholly apart nor disappear.
When one is young it seems like a very strange and safe place,
But now that I have changed it feels merely odd, cold
And full of interest.
          --John Ashbery, "A Wave"

Sometimes I sense that to put real confidence in my memory I have to get to the end of all rememberings. That seems to say that I forego remembering. And now that strikes me as an accurate description of what it is to have confidence in one's memory.
          --Stanley Cavell, The Claim of Reason


Tuesday, July 29, 2003
I remember hypermodern openings in chess associated with Nimzovich. I loved the concept, just as I loved the concept of non-Euclidean geometry. Hypermodern -- I knew about that before I knew about hyperspace (which it now occurs to me is also non-Euclidean) from Star Trek. How could something be hypermodern? I knew that "hyper-" was an intensifier, like "super" and "ultra," and so I tried a drawing a comic character (with shaded cross-hatched muscles) parallel to Super- and Ultraman called Hyperman. But hypermodern was more than that; it was like the entry into a new way of thinking, a new conceptual scheme. I knew what being modern was from "thoroughly modern Millie," the Julie Andrews movie my downtown grandmother took me to (and that I liked, though it was very different from Mary Poppins and The Sound of Music). She was my only grandparent to take me to the movies. But hypermodern seemed a step ahead, as though its modernity was always in the future, never in the present. And yet it was in the present too -- it wasn't futuristic so much as the limit case of modernity. You could never get more modern than the hypermodern: the future was in the instant, the asymptote had come as close to arrival as it was going to come. (And this made sense since hypermodern openings went towards the edges or limits of the board, and eschewed the center. I remember Brent Larsen [was that his name?], the great Danish grandmaster, who once as Black played a sort of hypermodern game: 1) P-K4 P-Q4, 2) PxP QxP, etc. He tried to take control of the edges. But he lost, as I recall. Still, I liked the daring of it.)


posted by william 6:11 PM
. . .
0 comments
Comments:

Post a Comment





. . .