september 1–15, 2015

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Books

  • Amanda Filipacchi, Love Creeps
  • Richard Hughes, A High Wind in Jamaica
  • Stefan Zweig, Chess, trans. Anthea Bell
  • Patricia Highsmith, Strangers on a Train
  • Patricia Highsmith, The Price of Salt
  • Patricia Highsmith, The Talented Mr. Ripley
  • Patricia Highsmith, Ripley Under Ground
  • Patricia Highsmith, Ripley’s Game
  • Patricia Highsmith, The Boy Who Followed Ripley
  • Patricia Highsmith, Ripley Under Water
  • Maggie Nelson, The Argonauts
  • Ursula K. Le Guin, A Wizard of Earthsea
  • Ursula K. Le Guin, The Tombs of Atuan
  • Ursula K. Le Guin, The Farthest Shore
  • Ursula K. Le Guin, Tehanu
  • Ursula K. Le Guin, Tales from Earthsea
  • Ursula K. Le Guin, The Other Wind

Films

  • Bomb Harvest, directed by Kim Mordaunt
  • A High Wind in Jamaica, dir. Alexander Mackendrick
  • 海街 Diary (Our Little Sister), dir. Hirokazu Koreeda
  • You and Me, dir. Fritz Lang
  • Strangers on a Train, dir. Alfred Hitchcock

august 16–31, 2015

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Books

  • Raymond Chandler & Robert B. Parker, Poodle Springs
  • Rita Bottoms, Riffs & Ecstasies: True Stories
  • Hugh Aldersey-Williams, The Adventures of Sir Thomas Browne in the 21st Century
  • Robert B. Parker, Perchance to Dream
  • Raymond Chandler, The Simple Art of Murder
  • John Darnielle, Wolf in White Van
  • Amanda Filipacchi, The Unfortunate Importance of Beauty
  • Flannery O’Connor, Wise Blood
Films
  • Siti, directed by Eddie Cahyono
  • Fay Grim, dir. Hal Hartley

august 1–15, 2015

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Books

  • Jenny Diski, What I Don’t Know About Animals
  • Iris Murdoch, The Nice and the Good
  • Shirley Jackson, We Have Always Lived in the Castle
  • Bohumil Hrabal, Too Loud a Solitude, translated by Michael Henry Heim
  • Benjamin Black, The Black-Eyed Blonde

Exhibits

  • “Raymond Roussel,” Galerie Buchholz
  • “America Is Hard to See,” Whitney Museum

july 16–31, 2015

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Books

  • P. G. Wodehouse, My Man Jeeves
  • Fran Ross, Oreo
  • Susan Sontag, The Benefactor
  • Nell Zink, Mislaid
  • Ronald Johnson, The Book of the Green Man
  • John Keene, Counternarratives
  • Georges Perec, Portrait of a Man Known as Il Condottiere (trans. David Bellos)
  • J. Rodolfo Wilcock, The Temple of Iconoclasts (trans. Lawrence Venuti)

Films

  • Train Wreck, directed by Judd Apatow

june 16–30, 2015

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Books

  • Henry James, The Tragic Muse
  • Ronald Firbank, Valmouth
  • Ronald Firbank, The Artificial Princess
  • Ronald Firbank, Concerning the Eccentricities of Cardinal Pirelli

Films

  • Limelight, directed by Charles Chaplin
  • The Target Shoots First, dir. Christopher Wilcha
  • Die 1000 Augen des Dr. Mabuse (The 1,000 Eyes of Dr. Mabuse), dir. Fritz Lang
  • Le sang des bêtes, dir. Georges Franju
  • Safe in Hell, dir. William A. Wellman
  • Vivacious Lady, dir. George Stevens
  • Roberta, dir. William A. Seiter
  • Carefree, dir. Mark Sandrich
  • Le Corbeau, dir. Henri-Georges Clouzot
  • Lured, dir. Douglas Sirk

june 1–15, 2015

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Books

  • D. H. Lawrence, Lady Chatterly’s Lover
  • D. H. Lawrence, The Virgin & The Gipsy
  • Ronald Firbank, The Flower Beneath the Foot
  • Nelson Algren, The Man with the Golden Arm
  • Ronald Firbank, Sorrow in Sunlight

Films

  • Pass the Gravy, directed by Fred Guiol & Leo McCarey
  • A.I. Artificial Intelligence, dir. Steven Spielberg
  • Io e te, dir. Bernardo Bertolucci
  • The Magus, dir. Guy Green
  • La città ideale, dir. Luigi Lo Cascio

may 16–31, 2015

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Books

  • J. M. Coetzee, Youth
  • J. M. Coetzee, Summertime
  • Abdul Ghani Sheikh, Forsaking Paradise: Stories from Ladakh, trans. Ravina Aggarwal
  • Charles Portis, Masters of Atlantis
  • Leslie Jamison, The Empathy Exams
  • Charles Portis, Gringos
  • J. B. Priestley, An Inspector Calls
  • Collier Nogues, The Ground I Stand On Is Not My Ground: Poems
  • Guillevic, Geometries, trans. Richard Sieburth
  • Claudia Rankine, Don’t Let Me Be Lonely
  • Khamsing Srinawk, The Politician and Other Thai Stories, trans. Domnern Garden
  • Jennifer Kronovet, Case Study: With

Films

  • Salmer fra kjøkkenet (Kitchen Stories), directed by Bent Hamer
  • Borderline, dir. Kenneth Macpherson
  • The Man with the Golden Arm, dir. Otto Preminger
  • Il giardino dei Finzi-Contini (The Garden of the Finzi-Continis), dir. Vittorio de Sica

may 1–15, 2015

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Books

  • John Fowles, The Collector
  • Satyajit Ray, Classic Feluda 2
  • John Fowles, The Magus
  • Eugene Lim, The Strangers

Movies

  • Sikkim, directed by Satyajit Ray
  • Yves Saint Laurent, dir. Jalil Lespert
  • The Elephant God (জয় বাবা ফেলুনাথ), dir. Satyajit Ray
  • Rabinranath Tagore, dir. Satyajit Ray
  • Cambodge après l’adieu, dir. Iv Charbonneau-Ching & Jérémy Knittel
  • 1971, dir. Johanna Hamilton
  • Key Largo, dir. John Huston
  • Force of Evil, dir. Abraham Polonsky

Exhibits

  • “Bui Thanh Tam: There Is No Box,” Thavibu Gallery
  • “Rattana Khunkaew: Monkey Show,” Number 1 Gallery
  • “Roland Neveu: 40 years later: The Commemoration of the Fall of Phnom Penh,” Alliance Française Bangkok

technology

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“Discussion with Hanna—about technology (according to Hanna) as the knack of so arranging the world that we don’t have to experience it. The technologist’s mania for putting the Creation to a use, because he can’t tolerate it as a partner, can’t do anything with it; technology as the knack of eliminating the world as resistance, for example, of diluting it by speed, so that we don’t have to experience. (I don’t know what Hanna means by this.) The technologist’s worldlessness. (I don’t know what Hanna means by this.) Hanna utters no reproaches. Hanna doesn’t find the way I behaved toward Sabeth incomprehensible; in Hanna’s opinion I experience a kind of relationship I was unfamiliar with and therefore misinterpreted, persuading myself I was in love. It was no chance mistake, but a mistake that is part of me (?), like my profession, like the rest of my life. My mistake lay in the fact that we technologists try to live without death. Her own words: ‘You don’t treat life as form, but as a mere sum arrived at by addition, hence you have no relationship to time, because you have no relationship to death.’ Life is form in time. Hanna admits that she can’t explain what she means. Life is not matter and cannot be mastered by technology. My mistake with Sabeth lay in repetition. I behaved as though age did not exist, and hence contrary to nature. We cannot do away with age by continuing to add up, by marrying our children.”

(Max Frisch, Homo Faber, trans. Michael Bullock, pp.178–9.)