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Michel Houellebecq, The Art of Fiction No. 206 (Paris Review)

“Do you like the Stooges?” Michel Houellebecq asked me on the second day of our interview. He put down his electric cigarette (it glowed red when he inhaled, producing steam instead of smoke) and rose slowly from his futon couch. “Iggy Pop wrote some songs based on my novel The Possibility of an Island,” he offered. “He told me it’s the only book he has liked in the last ten years.” France’s most famous living writer flipped open his MacBook and the gravelly voice of the punk legend filled the kitchenette, chanting: “It’s nice to be dead.”
Michel Houellebecq was born on the French island of La Réunion, near Madagascar, in 1958. As his official Web site states, his bohemian parents, an anesthesiologist and a mountain guide, “soon lost all interest in his existence.” He has no pictures of himself as a child. After a brief stay with his maternal grandparents in Algeria, he was raised from the age of six by his paternal grandmother in northern France. After a period of unemployment and depression, which led to several stays in psychiatric units, Houellebecq found a job working tech support at the French National Assembly. (The members of parliament were “very sweet,” he says.)
A poet since his university days, he wrote a well-regarded study of the American science-fiction writer H. P. Lovecraft in 1991. At the age of thirty-six, he published his first novel, Whatever (1994), about the crushingly boring lives of two computer programmers. The novel attracted a cult following and inspired a group of fans to start Perpendiculaire, a magazine based on a movement they called “depressionism.” (Houellebecq, who accepted an honorary place on the masthead, says he “didn’t really understand their theory and, frankly, didn’t care.”) His next novel, The Elementary Particles (1998), a mixture of social commentary and blunt descriptions of sex, sold three hundred thousand copies in France and made him an international star. So began the still fierce debate over whether Houellebecq should be hailed as a brilliant realist in the great tradition of Balzac or dismissed as an irresponsible nihilist. (One flummoxed New York Times reviewer called the novel “a deeply repugnant read.” Another described it as “lurch[ing] unpleasantly between the salacious and the psychotic.”) The Perpendiculaire staff was offended by what they saw as his reactionary denunciation of the sexual-liberation movement and booted him from the magazine.
Several years later, his mother, who felt she had been unfairly presented in certain autobiographical passages of the novel, published a four-hundred-page memoir. For the first and last time in his public life, Houellebecq received widespread sympathy from the French press, who were forced to concede that even the harsh portrait of the hippie mother in The Elementary Particles didn’t do justice to the self-involved character that emerged from her autobiography. During her book tour, she famously asked, “Who hasn’t called their son a sorry little prick?”...
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Black Bloc

On Feb 6, America author and Occupy activist Chris Hedges wrote a piece for Truthdig.com titled “The Cancer in Occupy.” In it he criticized the violent actions of Black Bloc operatives within the movement, saying they are the greatest threat to the future of Occupy. The article has generated a heated debate online about non-violence, political strategy and protest in America, and has garnered a response by Anarchist thinker Dr. Zakk Flash.
Read both articles and weigh-in.
The Cancer in Occupy by Chris Hedges

The Black Bloc anarchists, who have been active on the streets in Oakland and other cities, are the cancer of the Occupy movement. The presence of Black Bloc anarchists—so named because they dress in black, obscure their faces, move as a unified mass, seek physical confrontations with police and destroy property—is a gift from heaven to the security and surveillance state. The Occupy encampments in various cities were shut down precisely because they were nonviolent. They were shut down because the state realized the potential of their broad appeal even to those within the systems of power. They were shut down because they articulated a truth about our economic and political system that cut across political and cultural lines. And they were shut down because they were places mothers and fathers with strollers felt safe

Hedging Our Bets on the Black Bloc by Dr. Zakk Flash

Chris Hedges has written some of the most insightful analysis of the U.S. war machine in recent years. His 2009 book “The Empire of Illusion” was an exploration of how exhibition has eclipsed truth and meaningful connection in American society. His acknowledgment of the ease in which one can buy into such spectacles is a small part of why it was so odd to read his article on Truthdig attacking both anarchists and black bloc tactics entitled “The Cancer in Occupy.”

Via