– Appropriates traditional African Lion hairstyles with no respect for the culture. He’s probably never even killed a gazelle.
Tim and Gaby have a deep chat about hope, evil, feminism, and the internet.
Hey guys. I interviewed Tim Minchin for Inconnu Mag and it just came out finally. I am so so proud of this one. I think the conversation we had was amazing and I wish I could talk to everyone this way. Please check it out and share it if you like it. Thank you.
Tim Minchin, Desert Island Discs – BBC Radio 4
…there’s a parallel story about words here, because a satirist – particularly one with a social conscience, particularly in the age of the online outrage machine – must weaponise his or her ability to be offensive, and then ensure it obliterates the intended target rather than bystanders. A satirist lives and dies in the grey idea between intended and unintended offence.
Bring your love to me / I will hold it like a dandelion / One I want to save, one I want to keep / from the breeze that follows me and no one else
Charlie Rose: What does post-modern mean in literature?
David Foster Wallace: Ah, no no no…after modernism.
It’s a very useful catch all term because you say it and we all nod soberly as if we know what we’re talking about when in fact we don’t. There are certain…when I mean post-modern, I’m talking about maybe the black humorists who came along in the 1960s, the post-Nabokovians. I’m talking about Pynchon, and Barthelme, and Barth. DeLillo in the early 70s. Coover, and I’m sure I’m leaving out a lot. Um, let me see…
Charlie Rose: But that’s the camp you put yourself in?
David Foster Wallace: That’s the camp that interested me when I was a student. The problem is I think post-modernism has to a large extent run its course. The biggest thing for me that was interesting about post-modernism is that it was the first text that was highly self-conscious. Self-conscious of itself as text, self-conscious of the writer as persona, self-conscious about the effects that narrative had on readers, and the fact that the readers probably knew that. It was the first generation of writers who’d actually read a lot of criticism, and there was a certain schizophrenia about it. // It was very useful it seems to me because the culture…this was a real beaker of acid in the face of the culture. The culture at the time this came out–this was before the youth rebellion in the 60s–was very staid and very conservative. The problem though is now that a lot of the schticks of post-modernism–irony, cynicism, irreverence–are now part of whatever it is that’s enervating the culture itself.
But often, in the world’s most crowded streets,
But often, in the din of strife,
There rises an unspeakable desire
After the knowledge of our buried life;
A thirst to spend our fire and restless force
In tracking out our true, original course;
A longing to inquire
Into the mystery of this heart which beats
So wild, so deep in us—to know
Whence our lives come and where they go.
[image: Street lights by marc-gascoigne, on Flickr]