magical fairy tale

 that is what Handke turned to in On a Dark Night after his year in the Bay.  I'm a little past half-way. Missing the details and moods of Bay, this one feels a bit vague and hypothetical even though pleasant enough and clearly evoking the folk tales in which a wandering musician or such gets a bump on the head, falls asleep, wakes up in a new reality.  

Moving to this  house near the Petroglyphs prepared me for Handke's love of landscape, of basins and edges, basalt and lava, sand, wind, peaks and crests.  He loves to describe interior spaces too.  Bravo.

In this tale the pharmacist replaces the geologist.  So why the failed poet and the has-been athlete? Two forms of fleeting fame.  

Oh and the whole fascination with mushrooms and mushroom hunting---well of late I tuned in to all the people now offering to help me replace morning coffee with morning mushroom sludge and ritual beverage.  I tried Ryze and sent them angry letters.  Now of late I've been happy with Alcami and various chocolate suppliers, Embue and Ora.  The one from Peru, the big chunks, I worry about quality and metals.

News today that kimchee removes nanoplastics from our bodies.  Mainly I suppose how Handke seems to reject the tragic and vote for the tale, the story and the epic.  Without turning to dream work too much.  Nature and earth, land forms, earth where we land, center, rest, nest, shelter, wander.  

now we are deep into Breaking Bad, started season 3 at last and in for every detail forward   Makes me curious to try Pluribus again.  Va against that, might take a look when the ladies lunch today.  

just chanced into looking at Lars Iyer's blog about Jakob Taubes. No connection to Handke (yet) ---

"Bernhard’s repeated phrase, ‘in the opposite direction’ is an intensifier, a force of active nihilation which becomes a rising, an acceleration, even a jubilation. There is the joy of outcycling or outstriding or outrunning the world. There is great joy in his work as it affirms its own virtuosity in hyperbolic invective, as it lets its blunderbuss scatter at some deserving targets. A joy of rhythm, not in the sense of a pulsed beat, but a dance of language, that Dionysianism that unites death and chaos with both desire and the affirmation of life. A music that creates as it destroys."

Yes, Lars Iyer references Peter Handke, specifically in the context of discussions regarding the nature of fiction, the "récit" (narrative/tale), and the removal of fictional elements from literature.

• Removal of Fictions: In a 2011 interview with Full Stop, Iyer references an early comment by Handke at a Group 47 meeting: "Above all, it seems to me that the progress of literature consists of the gradual removal of all fictions". Iyer links this sentiment to his own work, particularly in his novel Spurious, where he aims to capture what remains after such a removal.
• Definition of Fiction: In a discussion regarding the nature of "The Disintegrations" (likely referencing Alistair McCartney's work), Iyer's perspective on the "récit" is mentioned, which aligns with Handke’s view of fiction as an intersection of daily occurrences, according to an interview in LA Review of Books.
• Themed Lists: Handke’s work, such as Across, has appeared in lists of "strange and ineffable" literature favored by writers in circles surrounding Iyer. 

Additionally, in his own "Notes from a Room" blog, he or discussions related to his work have referenced a A Sorrow Beyond Dreams by Handke. 

Handke’s view of fiction as an intersection of daily occurrences, according to an interview in LA Review of Books.

back in the book---we meet a hermit, vanished classics teacher Andreas Loser--name appears in another, earlier book.  

Handke sees his works more and more as recít.  "Maurice Blanchot describes the récit as follows:

If we regard the récit as the true telling of an exceptional event which has taken place and which someone is trying to report, then we have not even come close to sensing the true nature of the récit. The récit is not the narration of an event, but the event itself, the approach to that event, the place where that event is made to happen—an event which is yet to come and through whose power of attraction the récit can come into being, too."

duh   I will have to study this Nobel interview carefully ---  he starts with a feeling ---  there it is 

Interview with the 2019 Nobel Prize laureate in literature Peter Handke on 9 December 2019 during the Nobel Week in Stockholm, Sweden.

How does your writing process begin? 

Peter Handke: I start with a feeling and images and rhythm. This is inside me. Sometimes I have a story to tell. It is always this transformation during the work. This keeps me alive. I don’t want to know exactly what I have to do. It happens, and it should be a wonderful surprise to me, to the writer too. I write, I have to be surprised, not by myself, by somebody who is not only me. 

No critic, no opinion, only images, rhythm, feeling. Like Kafka said, I could search in myself during one year to find a real feeling. He was a little bit exaggerating for he was a very shy man. One real feeling, it’s not much. But nevertheless, this exists. I think I wrote a long story about the man despair. I think it’s translated in Swedish. It is A Moment of True Feeling. This is my “point de départ,” in French. I am traveling with the moment of true feeling. It’s a kind of travelling. 

lots of walking backward  146  not one strep back--with the exception of going forward by walking backward!