Peter Wollen

Yeats had no doubt how and when the fatal blow was struck. In his memoirs, he noted that ‘the condemnation of Wilde had brought ruin upon a whole movement in art and letters.’ Yeats himself was fortunate that the Celtic Revival, which ran in close tandem with Decadence, had special resources of its own. Two of the great iconic victims of the social purity movement, the repressive engine of Late Victorianism, were themselves Irish – Parnell and Wilde – and Yeats was able to incorporate their tragedies into his heroic narrative of Irish nationalism. Moreover, as Yeats himself pointed out, his own circle – the poets of the Rhymers’ Club – were too marginal to be significantly affected by the Wilde verdict. They only aimed to sell three hundred copies and wrote ‘for the smaller public that has knowledge and is undisturbed by popular feeling’.’

Art catalogues have drifted away from being simple accessories to exhibitions and become instead strange hybrid forms somewhere between cultural studies primers and coffee-table books. They provide both an intellectual commentary, written by academics, journalists and art-world figures, and a comprehensive set of colour reproductions of the works in a show, taken by specialised photographers. From a practical point of view they are freebies for the press, commodities to be sold in the museum store and in the wider world, promotion tools for the museum and the artists and, perhaps most important of all, they endow exhibitions with a durable after-life in libraries, both private and public. The catalogue for Sensation, the show of works by young British artists from the Saatchi collection, currently on view at the Royal Academy of Arts in Piccadilly, runs over two hundred pages, with more than a hundred colour plates, as well as a series of black and white portrait photographs of the artists taken by Johnnie Shand Kydd. It has five catalogue essays, several pages of artists’ biographies, a bibliography and, as the very last item in the book, a six-page checklist of the 110 works in the exhibition, with an apparatus of dates and dimensions. The cover design of the book is not drawn from the works on display in the show but was produced for the book by a design company. It is as vivid and arresting as the artworks documented inside, perhaps even more so.

Writing about Goya’s Black Paintings in Art after Modernism, a collection of essays published in 1984 by the New Museum in downtown New York, Kathy Acker argued that ‘the only reaction against an unbearable society is equally unbearable nonsense.’ She once said she didn’t expect anyone to read any of her books from beginning to end: ‘even in Empire of the Senseless, which is the most narrative book, you could read pretty much anywhere.’ In other words, you could make your own montage, you could appropriate and re-order, just as Kathy Acker had appropriated and re-ordered the writing of others – Harold Robbins or Cervantes or Ian Fleming or Propertius. In a sense, her writing was an extension of her reading, so that her plagiarism was a way of reading, or rereading, appropriating and customising what she read, writing herself, so to speak, into the fabric of the original text. Acker used to read her own texts, too, each one eight times, redrafting it after each reading: once for meaning, once for beauty, once for sound, once to the mirror to see how it looked, once for rhythm, once for structure, and so on. Writing and reading became as confused and mixed up as sense and nonsense, male and female, self and other, the sexual and the political. On the nihilism, as she saw it, of Caravaggio’s David with the Head of Goliath, Acker said: ‘The sexual is the political realm. There is no engagement.’’‘

I was living in Paris in 1959, the year of both Jean-Luc Godard’s Breathless and Budd Boetticher’s The Rise and Fall of Legs Diamond, and I went to see both of these films the week they were released. In fact, I went back to see them a number of times. I couldn’t help noticing that Godard quoted from another Boetticher movie in the course of Breathless, in the scene where the small-time gangster Michel Poiccard, played by Jean-Paul Belmondo, dives into a cinema on the Champs Elysées in order to shake off a wearisome tail. The film which is up on the screen turns out to be Budd Boetticher’s Westbound, one of the Randolph Scott cycle, although the voice that we hear on the soundtrack is mysteriously speaking some lines of poetry by Guillaume Apollinaire. In a way, this aberrant moment summed up Godard’s appeal for me – the perverse mixture of Modernism with B-movies, as if an Apollinaire poem somehow fitted quite naturally with a low-budget picture, a minor Warner Brothers production; as if you could love them both at the same time. Samuel Fuller’s extraordinary Crimson Kimono also came out in 1959 and, sure enough, Sam Fuller shows up in Godard’s films six years later, in Pierrot le Fou, where le grand Sam appears as a party guest to define film as ‘like a battleground. Yes … Love. Hate. Action. Violence. Death. In one word … Emotion.’ Fuller, we have been told, is in Paris to make a movie of Baudelaire’s Fleurs du Mal.’‘

J. Hoberman’s book, appropriately enough, is a cinematic montage of reflections on the long-drawn-out demise of the former Soviet Union, seen through the eyes of a New York journalist and film critic: a process that began with the death of Stalin and ended with the sale of chunks of the Berlin Wall in Bloomingdale’s. Hoberman chronicles these events from the point of view of three related personae: the thoughtful Jewish New Yorker, reading the novels of Victor Serge or reconsidering the Rosenberg case; the compulsive film aficionado, intrigued by the representation of the Communist world in Soviet films, Hollywood movies and the work of the East European New Wave directors, such as Gyula Gazdag or Dusan Makavejev; and then the cultural historian, provoked by the appearance in a New York gallery of Sots Art, an ironic appropriation of ‘socialist’ art by Vitaly Komar and Alexander Melamid, into trying to understand the deeper significance of Socialist Realism. This fascinating book swoops and lurches from topic to topic, but the reader’s feeling of disorientation is more than compensated for by the exhilaration of the ride, which ends in a nightmare dream-sequence, a crazy amalgam of Hellzapoppin’ and October (‘an imaginary documentary projected on actual locations’) with the Rosenbergs cast as ‘the Lone Ranger and Tonto of Knickerbocker village’. In other words, a provocatively chaotic and hilarious book about a rigorously controlled and tragic era.‘