Celebrating CONTRARIWISE from Afar

Vol 5 CoverIn honor of today’s CONTRARIWISE celebration at Book Culture in New York City, I thought I’d post a partial review of the fifth issue–partial in the double sense of “biased” and “fragmentary.” It’s biased because I served as faculty advisor for the first three issues; fragmentary because I will comment on only a fraction of it. What a beautiful, playful, inquisitive volume, and what a joy to see CONTRARIWISE continuing onward!

It has many traditional CONTRARIWISE features and touches: the cover art, a Cast and Crew section, the Infrequently Asked Questions, the contests, certain topics and forms, and the Index of Essentials, and others; each of these comes across in a fresh way. The pieces make you laugh, pause, read slowly, think, and return.

Jeanyna Garcia’s “Cooking à la Buber” relates cooking to Martin Buber’s idea of the I-Thou relation. “As weird as it may sound,” she writes, “if there isn’t a special attachment between you and the food, or if there isn’t diligence while you are preparing the food, then you might as well be cooking something inedible.”

In “The Story of Envy,” a dialogue that takes place over the years, Theo Frye Yanos (who has contributed to every issue of CONTRARIWISE) takes up tensions between parent and child, longing and limitation, consolation and truth. The piece begins, “Once there was a child. The child was named Envy, and all they wanted was to have a big, colorful house with lots of flowers.” Growing older, more mature (or immature?), and more stubborn, Envy longs to be understood rather than wished away.

Natalie Schmit’s “From Folly” not only made me roar but captured something of the texts in question. She wrote the piece for an assignment: students had to imagine a conversation between characters in writings they had read in philosophy class that year. The resulting epistolary exchange (between Desiderius Erasmus’s Folly and a character from Nikolai Gogol’s “The Nose”) includes this letter:

Dear Folly,

I asked you not to write to me again. But your thoughts are too serious to ignore. First, how dare you speak of my daughter like that!? She will have a proper marriage to a nice bureaucrat with a nose! I surely have no idea what this “joking” business is. I only have joked one singular time in my life. I do not have any more time for this nonsense. I have more important things to do. Additionally, I have come to suspect this may be sedition? I don’t know, but I want nothing to do with it!

Goodbye forever (for real this time),
Madam Alexandra Grigoryevna
P.S. Do NOT refer to me as Alex!

Speaking of Russian literature, another of my favorites is Melany Garcia’s essay “The Underground Man: Philosopher or Angry Middle-Aged Man?” She argues that Dostoevsky’s Underground Man is not a philosopher; unable to “move forward in understanding his opinions,” he “simply rants and rambles on about them.” That seems believable on the face–but what makes this piece stand out is its keenness. The author examines some of the passages where the Underground Man verges most closely on philosophy–and shows how he stops short or veers off.

I almost forgot! Another favorite is Mario Pereira’s “Logos at Thanatos,” where Aristotle enters a classroom in the Underworld and finds Socrates giving a lesson to a corpse. It begins:

Socrates: And so, only philosophers have the knowledge to divine the forms.

Corpse: Of course.

This reminds me of the old days of CONTRARIWISE, except that it’s different. Of course a corpse says “of course”–but no corpse has done so before, at least not here. There’s a verbal justice to it; the right thing gets said by the right character (to the right character–what do you say to Socrates but “of course”?) at the right time.

Speaking of justice, this year’s international contest, which involved imagining justice as a building, brought in a wealth of pieces. I have previously mentioned the winnersBarnabás Paksi, Hakan Urgancıoğlu, and Gábor Medvegy–but the editors chose to publish additional entries, and with good reason. They are fascinating and different from each other.

The journal takes immense work: planning the issue, announcing contests, inviting and collecting submissions (including art), reviewing them, choosing them, contacting the authors, editing the selected pieces, putting them in layout, designing the cover, proofreading, proofreading again, proofreading still again, sending everything off, waiting, receiving the copies, selling them, planning events, holding them, planning for the next year, and, in addition to all of this, sending out announcements, maintaining the website, updating the Facebook page, handling the finances, finding ways to sell more copies and raise money, updating the documentation, and, alongside everything, delving into topics and texts, thinking about the philosophical ideas themselves.  It “speaks volumes” (five, in fact!) that those now in charge of the journal have given it so much care and thought.

As I promised, I have covered just a fraction of the fifth issue. You can read the rest on your own; that’s better than reading about it! To all those involved in today’s event–which begins in about 20 minutes–I wish you a joyous occasion. Here are a few photos from CONTRARIWISE events of yore.

 

 

 

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  • “To know that you can do better next time, unrecognizably better, and that there is no next time, and that it is a blessing there is not, there is a thought to be going on with.”

    —Samuel Beckett, Malone Dies

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  • ABOUT THE AUTHOR

     

    Diana Senechal is the author of Republic of Noise: The Loss of Solitude in Schools and Culture and the 2011 winner of the Hiett Prize in the Humanities, awarded by the Dallas Institute of Humanities and Culture. Her second book, Mind over Memes: Passive Listening, Toxic Talk, and Other Modern Language Follies, was published by Rowman & Littlefield in October 2018. In February 2022, Deep Vellum will publish her translation of Gyula Jenei's 2018 poetry collection Mindig Más.

    Since November 2017, she has been teaching English, American civilization, and British civilization at the Varga Katalin Gimnázium in Szolnok, Hungary. From 2011 to 2016, she helped shape and teach the philosophy program at Columbia Secondary School for Math, Science & Engineering in New York City. In 2014, she and her students founded the philosophy journal CONTRARIWISE, which now has international participation and readership. In 2020, at the Varga Katalin Gimnázium, she and her students released the first issue of the online literary journal Folyosó.

  • INTERVIEWS AND TALKS

    On April 26, 2016, Diana Senechal delivered her talk "Take Away the Takeaway (Including This One)" at TEDx Upper West Side.
     

    Here is a video from the Dallas Institute's 2015 Education Forum.  Also see the video "Hiett Prize Winners Discuss the Future of the Humanities." 

    On April 19–21, 2014, Diana Senechal took part in a discussion of solitude on BBC World Service's programme The Forum.  

    On February 22, 2013, Diana Senechal was interviewed by Leah Wescott, editor-in-chief of The Cronk of Higher Education. Here is the podcast.

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    On this blog, Take Away the Takeaway, I discuss literature, music, education, and other things. Some of the pieces are satirical and assigned (for clarity) to the satire category.

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