PDF/EPUB Simon Critchley é Memory Theatre MOBI ð é

A French philosopher dies during a savage summer heat wave Boxes carrying his unpublished miscellany mysteriously appear in Simon Critchley’s office Rooting through piles of papers Critchley discovers a brilliant text on the ancient art of memory and a cache of astrological charts predicting the deaths of various philosophers Among them is a chart for Critchley himself laying out in great detail the course of his life and eventual demise Becoming obsessed with the details of his fate Critchley receives the missing final box which contains a mauette of Giulio Camillo’s sixteenth century Venetian memory theatre a space supposed to contain the sum of all knowledge That’s when the hallucinations begin‘Memory Theatre is a brilliant one of a kind mind game occupying a strange frontier between philosophy memoir and fiction Simon Critchley beguiles as he illuminates’—David Mitchell author of Cloud Atlas‘With a sense of mischief combined with surprising reverie Simon Critchley has braided together ideas about memory from the past with the latest thinking about unreliable narrative altered states and the mysteries of consciousness Memory Theatre is a tantalising textual Moebius strip – philosophy autobiography and fiction twisted together’—Marina Warner author of Stranger Magic‘Simon Critchley is a figure of uite startling brilliance and I can never guess what he'll do next only that it is sure to sustain and nourish my appetite for his voice His overall project may be that of returning philosophical inuiry and theory to a home in literature yet without surrendering any of its incisive power or ethical urgency I read Memory Theatre and loved it' —Jonathan Lethem author of Dissident Gardens ‘Novella or essay science fiction or memoir? Who cares Chris Marker Adolfo Bioy Casares and Frances Yates would all have been proud to have written Memory Theatre’ —Tom McCarthy author of C'A strange affecting and stimulating book that's both a philosophical hiostory and a personal memoir Sifting through the archives of a dead friend Critchley takes a fascinating journey through the philosophy and history of memory and the technologies of remembering dreamed up by thinkers since classical times'—Hari Kunzru author of Gods Without Men

10 thoughts on “Memory Theatre

  1. says:

    Ooo la laNone of you suckers had heard about this baby Don't worry I got the novellas of french philosophers covered I'm going to go out on a limb here and tentatively recommend this bad boy to the philosophers Adage and Maxie the narrator talks a lot about this Hegel fella Then I'll give it a thumbs up and nod to next tier the group I call Readers and Crafters The Dewster Megalot LeaseThen I'd float it onto the aloof circle Ally Triin with two i's and The uh Thea David he's on another level I don't got to worry about DavidI certainly enjoyed myself I might vortex on the couch and skim some of the bumpier parts I'm thinkin about well I guess I won't go into it but once you've read it I'm thinkin about doing it It's like a hundred pages

  2. says:

    Interesting and worthwhile I think the book's greatest success is managing to represent the way in which an intellectual's life is populated by the books and ideas he in this case loves; it lets us in to see the deep fondness he has for thoughts and their thinkers There are echoes of Eco heh Bernhard and Sebald here definitely the European intellectual thinking about his place in history and his inheritance and legacy It's rewarding even if it leaves an impression of thinness and its obscurity at the end feels slightly self important Overall I recommend it

  3. says:

    a slim apparently somewhat autobiographical novella from philosopher simon critchley see also nyt's the stone memory theater is an enigmatic enjoyable foray into memory and mortality perhaps not unlike something one would expect from enriue vila matas or even a mild mannered césar aira critchley's brief work entwines the history of philosophy with the cryptic leavings of his late colleague critchley's erudition melds easily with an inviting humor leaving the reader charmed and inuisitive about both the idea of a memory theater and the philosophical issues raised in the text i was dying that much was certain the rest is fiction

  4. says:

    Odd brain stretching funny in places and uite different from anything I've read before I wish I could find books that are like this pleasing reads but at the same time not trying to conform to any obvious literary conventions

  5. says:

    Full of humor and deep philosophical history The Memory Theater is a uick one sit read for anyone looking to laugh think and remember their past

  6. says:

    'I was dying That much was certain The rest is fiction' p7It took me a while to understand Hegel the great philosopher of Idealism ever since I started studying philosophy Gradually I grasped some hints of what the big thinker had in mind A lot of it eluded me invariably If it's not for the craziness of Critchley's attempt to create a Memory Theatre of his own it must be for his clear approach to Hegels phenomenology of mind I slightly enjoyed reading this book And yeah what does it care if it is fiction or not If everything else we do is just die

  7. says:

    Irritating and pretentious Also describes the demise of the dinosaurs as having taken place 15 million years ago rather than 65 million I wonder if Critchley's book on David Bowie thinks Bowie was born in 1998

  8. says:

    It's been almost a week since I finished this and this book is making me re evaluate how I'm rating books here Memory Theatre was a uick read sometimes beautiful but ultimately not a book that moved me or left any lasting impact As a person I tend to feel strongly for or against something and am rarely neutral if I am it's usually because I dont know enough about a subject This book I guess felt like a lukewarm shower So changing it from 4 to 3 stars

  9. says:

    Philosopher Simon Critchley was born in England but his debut novel Memory Theater looks and smells continental At first glance it will remind most readers of a slim epigrammatic work by Derrida In the same spirit it tackles topics of risible enormity Death memory and the idea of a collective historical unconsciousOn closer examination the real lodestar of the metafictional Memory Theater appears to be the fiction of Jorge Luis Borges with its playful evocation of esoteric theories and documents Simon Critchley or rather a fictionalized version of the author with the same name discovers a series of boxes that belonged to Michel Haar a dead philosophy professor Critchley first uncovers a range of texts related to the idea of the “memory theater” a physical space designed to evoke recollections through visual shorthand The concept has a long and esoteric history and Haar theorizes wildly on its applications even employing Hegel’s “Phenomenology of Spirit” as a kind of textual memory theater to connect with a uasi mystical universal consciousnessOpening other boxes Critchely then finds a series of memory maps biographical compendiums that predict several philosophers’ dates and causes of death including his own The discovery inspires Critchley to build his own memory theater before he dies guided by a model of Giulio Camillo’s design for a 16th century theater Mayhem ensuesThe novel’s techniue is relatively straightforward Critchley ahem the “real” author uses Haar’s texts as a means to introduce the idea of the memory theater which then expands into a riff that combines fiction memoir and other texts There are moments of maddening narrative unreliability such as a section not my original observation by the way where Critchley inaccurately discusses a Swedish acuaintance’s recollection of the lyrics of a 1978 Eurovision song contest entry Whether other deliberate inaccuracies exist and what the intent of those distortions might be is virtually unknowable; not even the most erudite reader will be able to determine the full accuracy of Critchley’s granular esotericaLike the oracular continental philosophy that it imitates Memory Theater reuires the blind faith of the reader and withers somewhat in the face of serious inuiry In particularits concept of “memory” is maddeningly fluid The book's status as fiction relives it somewhat from the burdens of airtight argumentation but that same freedom allows it play unfairly with the curious reader who will be mystified by fanciful moments where argumentation all but evaporatesSome readers will be impressed by Critchley’s ability to compile and comment on esoteric subjects But I can't agree with Jonathan Lethem's blurb that praises Critchley as a figure of startling brilliance This is engaging and competent metafiction nothing

  10. says:

    Critchley is uite interesting when he's just giving us a potted version of what Frances Yates and others had to say As a creative writer his weakness as he realises in himself is that he is not a poet and he lapses into cliche triteness and the tone of a rather desperate ageing trendy several times in this uite short book The project of the memory theatre for his life is dead on arrival from its appearance so I couldn't possibly care at its formal failure The tricksy business about mystery boxes and found manuscripts is now very stale and mouldy and Simon is utterly perfunctory in unveiling it The photos are nice though Do you notice they're in reverse order to show the building seemingly being deconstructed paralleling his idea about Hegel's Phenomenology? Clever stuff