A conversation between Joseph Harrington and H. L. Hix
Joseph Harrington and H. L. Hix have perceived their work as being “in conversation” for quite some time, so the strength of their shared sense that Harrington’s recent Disapparitions and Hix’s Moral Tales were intent on listening in related ways led them to formalize their conversation. The result is the following inquiry into attention, attunement, genre, and other matters of writerly — and human — concern.
Joseph Harrington and H. L. Hix have perceived their work as being “in conversation” for quite some time, so the strength of their shared sense that Harrington’s recent Disapparitions and Hix’s Moral Tales were intent on listening in related ways led them to formalize their conversation. The result is the following inquiry into attention, attunement, genre, and other matters of writerly — and human — concern.
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Unpacking Walter Benjamin's iterations
Walter Benjamin is perhaps the writer we most commonly associate with the recognition of the changes induced in the work of art by the “age of mechanical reproduction” in the modernist period. In that essay, Benjamin’s focus is primarily on visual and auditory reproduction, but he begins the essay with “The enormous changes brought about in literature by movable type, the technological reproducibility of writing.” He then goes on to state:
Around 1900, technological reproduction not only had reached a standard that permitted it to reproduce all known works of art, profoundly modifying their effect, but it had also captured a place of its own among the artistic processes.
Benjamin has in mind here phonography, lithography, photography, and cinema. But, as a quotation from Paul Valéry immediately prior to this passage suggests, these changes––along with those directly bearing on print, such as the rise of the typewriter––affected the way writers like Stein, Valéry, and Benjamin approached the printed book’s already established place among literary processes.