Kentishtowner explores what exactly we do

 

Getting underneath the best literature
Getting underneath the best literature

The Kentishtowner asked if I would attempt to explain:
So what exactly is a literary salon?
Misplaced your love of literature somewhere along the line? Rediscover it this year with a “spa for the mind”
– See more at: http://www.kentishtowner.co.uk/2014/01/06/exactly-literary-salon/#comments

The comments are the best part…thanks London and Paris Salon folks for getting it said….

 

Teaching and learning should be an opportunity for great generosity – not an intellectual pissing contest.

With that in mind, what then is a literary “salon”? The answer is actually quite simple: it’s an informal study of a particular work of literature, either as a single intensive session or longer weekly series of meetings. Some even describe the experience as “a spa for the mind”. But mostly it’s where we laugh, express our frustrations, query meaning and purpose, and discover great depth in the language and vision of the writer.

My London Literary Salon actually started in Paris, back in 2004, where my partner and I had moved rather abruptly from California. I found myself at a loose end: after working as a mentor teacher and counsellor and unable to find a job teaching in the French system, I was meeting other English-speaking adults who, while loving la vie Parisien, were looking for further intellectual stimulation.

After a particularly heady party, the idea of the salon burst forward. I ran my first study in our apartment with a group of eight women on Beloved by Toni Morrison, a wrenching, complex book with a multi-level narrative. At the end of our five-week study, everyone said, “What’s next?” And so the salon began.

We moved here in 2008. Now based on Falkland Road in Kentish Town, I hope the salon brings to the surface the deepest questions about who we are — and without offering answers, help us understand life’s mysteries. What, for example, does it mean to be human, in different times or different skin, various genders and a spectrum of struggles?

Relaxed: inside the salon

Relaxed: inside the salon

I believe — with the passion of a southern minister that is part of my inheritance — that the best learning is not hierarchical but shared discovery. But a teacher or facilitator can only guide; in a room full of learners you have a vast array of experiences and world views, all of which can enrich the learning experience. This is the basis of the salon: adults that join may be highly educated or not, but all have ideas and insights that expand our study.

We can also discuss issues that are harder to bring up in casual conversation. Take racism and identity, for example: Ralph Ellison’s Invisible Man gives us an (apparently) objective platform to get inside the skin of one who is positioned as other – and glimpse how the world looks from there.

Then there is the writing: to grapple with the linguistic pyrotechnics of James Joyce — to enter into his exploration of the body, mind and street-life, to sit in awe of his allusions, musicality and thematic developments – is to expand the possibilities of the written word. To do this with a group of other curious readers who are also struggling allows each to enrich their own understanding many fold.

As facilitator I offer historical context, a biography of the writer, literary criticism, and other areas that the literature engages: the workhouses and debtors prisons of Dickens’ time, for example, or breakdown of Southern aristocracy in Faulkner’s world. The fees are for the physical and metaphorical space provided, the background and discussion notes and the atmosphere of flexibility combined with clear purpose and direction. It is also my responsibility to ensure a balance in the discussion and I do redirect when necessary. I try to keep the salons affordable to encourage a diverse group of participants.

But most of all? I celebrate the variety of participants who choose the Salon: I have seen friendships and relationships grow, and people come to a greater understanding of themselves and others. Reading literature does not need to be an isolating experience: through the salon and other local, grassroots book clubs (MeetUp, for example), there are authentic communities forming from the energy we have for the pure exploration of ideas — and how that connects us deeply.

 

Martin Wednesday 8 January 2014 at 10:30 pm #

Are there any drinks?

– See more at: http://www.kentishtowner.co.uk/2014/01/06/exactly-literary-salon/#comments

 

 

2014 Salons announced

2014 Salons

Upcoming Salons in London—Jan-March 2014
Ulysses by James Joyce (20 week study-£300)
Black Voices in American Literature (12 week study through City Lit-£98)
“The Wasteland” by T.S. Eliot (One-meeting Intensive-£35)
Frankenstein by Mary Shelley (One meeting Intensive-£45)
Absalom, Absalom! By William Faulkner (Five week study-£75)
Moby Dick by Herman Melville (Eight week study-£125)
The Odyssey by Homer (Two meeting Intensive-£55)
Dates listed are start dates unless the Salon described in a one-meeting intensive…more details and registration information is listed under Events: use the link for each

January:

  • 14 .01 Black Voices in American Literature :
    Weaving history, diverse traditions and a collage of voices, we will explore the struggle and celebration of black experience through Toni Morrison’s Beloved, Ralph Ellison’s Invisible Man, works by James Baldwin and Harlem Renaissance artists. Study offered at City Lit; London’s largest adult university.

 

12 week study; Tuesday 6-7:30 PM CityLit Covent Garden

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Intimidating, broad and beautiful—this is the Modernist work that tops the charts and requires a real commitment on the part of the reader. A Salon participant described the experience of reading Ulysses  “has made me a better reader, writer and human being”. The book is full of humour, food, sex, urban life and language play—Joyce’s love letter to Dublin and his critique of his Irish nation provides deep perspective on our contemporary living.

20 week study, Thursdays 8-10 PM at the London Literary Salon in Kentish Town

Ulyssesbooktower

The Wasteland is one of the most famous and most difficult poems written in English during the 20th c.; here is Mary Karr on how (and why) to approach the poem: “The boundary between 20th century verse in English and its 19th century predecessors –Romantic poetry and the genteel Victorian stuff after it—didn’t simply dissolve. It came down with an axe swoop, and the blade was T. S. Eliot’s “Waste Land”. William Carlos Williams said the poem “wiped out our world as if an atom bomb had been dropped upon it.” Its publication in 1922 killed off the last limping, rickets-ridden vestiges of the old era and raised the flag of Modernism…”

Waste-Land-Eliot

February:

 

  • 02.02 Frankenstein by Mary Shelley One Meeting Salon Intensive 5-10 PM

 

There is renewed interest in Mary Shelly’s gothic? Feminist? Science fiction? classic. Recent productions have peeled back the layers of the block-headed, bolted monster and gets down to Mary Shelly’s original concern: what is the relationship between the created and the creator? Edward Mendelson offers: “Frankenstein is the story of childbirth as it would be if it had been invented by someone who wanted power more than love.” The form of the story also draws the reader into the entangled and unlimited relationship between the Creature and its creator as we move through narrators to get to the frozen final confrontation.

The Salon intensive is a five-hour gulp…we take in the whole book at once and the resulting discussion tends to be energetic. Frankenstein is not a big read- most versions are between 110-135 pages…but it is worth giving yourself sometime to read and consider closely the many layers contained in the work.

Frankenstein_sketch_3_by_Dumaker

 

Starting in March:

26.03  Absalom, Absalom by William Faulkner (five week study, evening or afternoon options)

16.03 & 30.03 –Two meetings for Homer’s The Odyssey

Starting end of March—Eight week study of Moby Dick 

Where did the Salon go?

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There has been a dearth of literary offerings and Salon happenings in London and Paris the past two months– life interrupted and I had to leave London for an extended time with my family of origin–but if you are going to have to return to an old life and support your mother as she dies, well, this is lovely and heartbreaking place to do that.

The motion of living cuts through the grieving but I carry forward some hard-earned clarity as I look towards the autumn. There will be new Salon studies and some previous offerings given new breath…and there is a Ulysses study that has not heard the final– and terribly important–voice sing her song.

Please contact me or email toby@litsalon.co.uk to put in your requests starting in September…Faulkner? Woolf? Rushdie? Ralph Ellison? Moby Dick? What would you like to read with an energized group in a dynamic study?

Meanwhile…there are Salons happening by the lake in southern and northern Lake George–minds opening, fluid thoughts emerging.
Read deeply- be well- see you in the pages…

lakegeorge fall

Invisible Man

Ralph Ellison’s Invisible Man

invisible-man_ellison

“I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves or figments of their imagination, indeed, everything and anything except me.”

― Ralph EllisonInvisible Man

I consider this to be one of the greatest works of American Literature. The unnamed protagonist’s search for identity in a world that will not see him gives us as readers an opportunity to try to understand the psychological devastation of racism in its subtle as well as its violent forms and to consider how each of us participates in the fate of all humanity. Ellison weaves in themes and images from Virgil, Dante, Emerson, and TS Eliot while also using the structure and transcendence of Jazz to create a work that haunts and stirs to the core of our experience.

SALON DETAILS

  • Seven-week study
  • Recommended edition: Invisible Man by Ralph Ellison, Penguin Modern Classics (Aug. 2001); ISBN-13: 978-0141184425

From Saul Bellow’s essay:

“Man Underground”

Review of Ralph Ellison’s Invisible Man
published in 
Commentary (June 1952)

“It is commonly felt that there is no strength to match the strength of those powers which attack and cripple modern mankind. And this feeling is, for the reader of modern fiction, all too often confirmed when he approaches a new book. He is prepared, skeptically, to find what he has found before, namely, that family and class, university, fashion, the giants of publicity and manufacture, have had a larger share in the creation of someone called a writer than truth or imagination that Bendix and Studebaker and the nylon division of Du Pont, and the University of Chicago, or Columbia or Harvard or Kenyon College, have once more proved mightier than the single soul of an individual; to find that one more lightly manned position has been taken. But what a great thing it is when a brilliant individual victory occurs, like Mr. Ellison’s, proving that a truly heroic quality can exist among our contemporaries. People too thoroughly determined and our institutions by their size and force too thoroughly determine can’t approach this quality. That can only be done by those who resist the heavy influences and make their own synthesis out of the vast mass of phenomena, the seething, swarming body of appearances, facts, and details. From this harassment and threatened dissolution by details, a writer tries to rescue what is important. Even when he is most bitter, he makes by his tone a declaration of values and he says, in effect: There is something nevertheless that a man may hope to be. This tone, in the best pages of Invisible Man, those pages, for instance, in which an incestuous Negro farmer tells his tale to a white New England philanthropist, comes through very powerfully; it is tragi-comic, poetic, the tone of the very strongest sort of creative intelligence. In a time of specialized intelligences, modern imaginative writers make the effort to maintain themselves as unspecialists, and their quest is for a true middle-of-consciousness for everyone. What language is it that we can all speak, and what is it that we can all recognize, burn at, weep over, what is the stature we can without exaggeration claim for ourselves; what is the main address of consciousness?

“I was keenly aware, as I read this book, of a very significant kind of independence in the writing. For there is a way for Negro novelists to go at their problems, just as there are Jewish or Italian ways. Mr. Ellison has not adopted a minority tone. If he had done so, he would have failed to establish a true middle-of-consciousness for everyone.”


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