On his blog, Snakes and Ladders, Alan Jacobs posted an entry on “Richard Thompson: creativity from resistance” that begins,

“Many years ago now John Updike noted his response to much modern art: ‘we feel in each act not only a plenitude (ambition, intuition, expertise, delight, etc.) but an absence—a void that belongs to these creative acts: Nothing is preventing them.’ Art thrives, Updike believed, on resistance, on something pushing back hard against the artistic impulse. So, for Updike, this is what the city of Dublin as it was in 1904 did for James Joyce: it resisted him, it demanded to be accounted for and respected. And the greatness of Ulysses derives at least in part from Joyce’s willingness to reckon honestly with that resistance.”

Read the entire blog post in which Jacobs discusses neglected singer-songwriter Thompson, “who first came to public attention fifty years ago (!) as the leader of Fairport Convention” and includes an embedded video of Thompson.

The Neo-Neocon, in blogging that “It just might be a good time to revisit this quote from Milan Kundera on circle dancing,” cited a long passage from John Updike’s original review of the English translation of The Book of Laughter and Forgetting, published circa 1980:

“This book…is brilliant and original, written with a purity and wit that invite us directly in; it is also strange, with a strangeness that locks us out…

“…[T]he mirror does not so readily give back validation with this playful book, more than a collection of seven stories yet certainly no novel, by an expatriate Czech resident in France, fascinated by sex, and prone to sudden, if graceful, skips into autobiography, abstract rumination, and recent Czech history. Milan Kundera, he tells us, was as a young man among that moiety of Czechs–’the more dynamic, the more intelligent, the better half’–who cheered the accession of the Communists to power in February 1948. He was then among the tens of thousands rapidly disillusioned by the harsh oppressions of the new regime: ‘And suddenly those young, intelligent radicals had the strange feeling of having sent something into the world, a deed of their own making, which had taken on a life of its own, lost all resemblance to the original idea, and totally ignored the originators of the idea. So those young, intelligent radicals started shouting to their deed, calling it back, scolding it, chasing it, hunting it down.’

“Kundera’s prose presents a surface like that of a shattered mirror, where brightly mirroring fragments lie mixed with pieces of lusterless silvering. The Communists idyll he youthfully believed in seems somehow to exist for him still, though mockingly and excludingly. He never asks himself—the most interesting political question of the century–why a plausible and necessarily redistribution of wealth should, in its Communist form, demand such an exorbitant sacrifice of individual freedom? Why must the idyll turn, not merely less than idyll, but nightmare?

“The position of a writer from the Socialist world in the West cannot but be uncomfortable. He cannot but despise us for our cheap freedoms, our more subtle enslavements; and we it may be, cannot but condescend to his discovery, at such heavy cost to his life, of lessons that Messrs. Churchill and Truman so roundly read to us 35 years ago.”

Neo-Neocon concludes, “That probably tells you more about Updike’s politics and quality of mind (see much more here) than about Kundera. However, I actually think that, although Kundera doesn’t directly spell out the answer to that ‘most interesting political question of the century,’ the answer is inherent in everything he writes.”

Dr. Fred Andrea, pastor of Aiken’s First Baptist Church, wrote a column on “Faith and Values: How far is away?” for the Aiken Standard in which he begins,

“John Updike’s novel, Rabbit, Run, centers on a man who cannot accept responsibility and, therefore, lives each day with the suffocating feeling of being trapped. Confronted with a decision or a demand, he runs away. When the novel concludes, he is still unable to cope. His marriage is in shambles, his family life is conflicted, his friends have all abandoned him. Miserable and frustrated, he still cannot decide what to do, and so avoids doing anything. The final scene is set on a summer evening and reads as follows:

“‘As he goes down the stairs, worries come as quick as the sound of his footsteps. Guilt and responsibility slide together like substantial shadows inside his chest. Outside in the air his fears coalesce. Afraid, really afraid, he remembers what once consoled him—and lifted his eyes to the unlit windows of a nearby church.’

“‘Rabbit comes to the curb, but instead of going to the right and around the block, he steps down with as big a feeling as if this little side street is a wide river – and runs. His hands lift of their own, and he feels the wind on his ears, even before his heels hitting the pavement at first, but with an effortless gathering, out of a kind of sweet panic, growing lighter and quieter and quicker, he runs. Ah, runs. RUNS!'”

Before shifting to talk about the Old Testament prophet Elijah, who also ran away, Andrea asks, “How many persons at this very hour are running away, trying to hide or to escape? Some do it in the name of liberation, believing they are free only when they have no limiting obligation or responsibilities. Others run away to avoid facing themselves, and some are running away from love and from God.”

Read the whole column.