I think if I’m lucky I’m a mentor to people I’ve never met – Michael Silverblatt
Among them, Michael, count me. Your Bookworm Audio Archive is vast, a national treasure-house. It would only be absurd to try to number the hours I’ve spent there, or to attempt a comprehensive list of the writers whose voices it preserves. There’s no usable index to the archive as far as I know, and no easy way to browse… but, it’s staggeringly complete… : Mailer, Didion, Sebald, Morrison, Markson, Kraznahorkai, McElroy, Delillo, Mathews, Vonnegut, Updike, Beattie, Sontag, Vidal… that’s just a start to the endless, endless procession. If this is news to whoever reads this, they’re hereby informed. (See also Silverblatt’s role as host and interviewer of writers at the Lannan Foundation.)
Naturally, I first started going to Bookworm to hear Silverblatt in conversation with particular writers. My thesis supervisor had referred me to the Sebald interview, since I was working on his novels. But it soon became obvious that Silverblatt is himself a most unique and fascinating figure, very experienced, and that he’s gifted with a brilliant mind and a warm, rarely generous temperament.
So thanks, Michael Silverblatt, for that mentorship.
And for other bookworms, anyone curious — here’s some places where it’s Silverblatt who’s being interviewed for a change. Enjoy.
* Colin Marshall’s hour-long podcast with Silverblatt, from which the two quotes that lead this article are transcribed (Notebook of Cities and Culture, April 2012);
* Sarah Fay’s interview with Silverblatt (The Believer, June 2010);
* J. Robert Lennon’s half-hour of audio spent chatting with him (Writers at Cornell, Oct 2010); and, lastly,
* “An evening with Michael Silverblatt” (1:30 audio recording, Cornell, iTunes U).
I can’t be the first one to see an uncanny resemblance between Christian Bök’s Xenotext project and the bio-art of Orfeo‘s protagonist, can I?
Novelist Richard Powers is on the latest episode of Bookworm, talking with Michael Silverblatt about his latest book Orfeo. (Word to the wise — start listening to Silverblatt’s show, if you don’t already know it.) The book’s protagonist is apparently an avant-garde composer of music at work on a project to embed his musical masterpiece in the genetic code of a germ. As Silverblatt puts it, he’s “on the threshold of creating virtual, terroristic music.” Or, as Powers says, he’s trying to “encode a private musical message, embed it into the nucleus of a living cell, and have that cell propagate in the world carrying his little MP3 cassette with it, filling up a world that’s absolutely incapable of hearing it.”
Bök’s Xenotext is described as a nine year project to engineer “a life-form so that it becomes not only a durable archive for storing a poem, but also an operant machine for writing a poem.” (Read about it in Bök’s own words here.)
In both cases, the appeal of the idea of genetically encoding the work of art is to to make something that will be “legible” to life for a period longer than any material artifact.