My friend's joking title for my new book, Fragments, is "To All the Girls I've Loved Before," and he is not that far off. Fragments is an illustrated, full color collection of my best art, poetry, fiction and autobiographical stories — some from my blog (2010-2013) and some never before published — selected by Katherine La Mantia.
Katherine wrote the blurb on the back which reads: "Fragments is an illustrated collection of both published and previously unpublished stories and poems by Clint Irwin, a vagabond and an artist who explores life, love, and loss in this aggregate of his best autobiographical and fictional works. He ranges from fanciful to earnestly sober and achieves a thoughtful balance between cruel realities and hope, told in a witty, wise, and endlessly entertaining voice."
Strategy of Numbers was my debut novel, embodying my love of storytelling and my fascination with history, folklore and religion. I graduated from Columbus College of Art & Design, Columbus Ohio, with a degree in video and advertising, but most of my energy is devoted to writing and thinking about my upcoming sequel, In the Country of the Moon. Raised in every state from New York to Florida to New Mexico, my writing reflects my diverse life experience. I am still a bit of a vagabond, but my current location is in the Bronx, New York.
I'm a writer, but I paint, do video, graphics design, write songs, sing songs, record them. I post all of that kind of thing here, goof around, express my obnoxious political opinions (I'm a liberal who often pisses off liberals.) You can find out anything more you want about me in my new book, Fragments." This place is more cluttered with a mix of things but everything original to my typing fingers or my photoshop is moved over here.
A more interesting question, posed by de Tonnac, is whether “an unknown masterpiece might still be discovered.” Eco’s response is similar to the comments of the late critic Hugh Kenner. Kenner pointed out that if a copy of the Iliad turned up for the first time today it would arouse an archeological curiosity but little more. Eco agrees. “A masterpiece isn’t a masterpiece until it is well known and has absorbed all the interpretations to which it has given rise, which in turn make it what it is,” he says. “An unknown masterpiece hasn’t had enough readers, or readings, or interpretations.” Shakespeare, in contrast, is getting richer all the time. Disagreeable though it is to admit this, the anti-Western canon agitators have a point — literary masterpieces don’t simply drop from the heavens, or emerge from the brain of an inspired individual. Fate and politics play their roles.
Philip Marchand in Open Book: This is Not the End of the Book, a review of This is Not the End of the Book: A Conversation Curated by Jean-Philippe de Tonnac. (via bookoflead)