By Bowie, David; Critchley, Simon
A powerful and deceptively slender booklet, within which no essay takes longer to learn than it's going to take to hear a David Bowie music, yet within which there's a cumulative feel of revelation as regards what makes Bowie certain, and why it truly is that his paintings turns out to yield extra, the extra time you spend there. The ebook is pleasant, hugely readable, with bits of Nietzsche, Ruskin, Roland Barthes and Deleuze emerging up like wisps of cloud in its humorous, relocating and passionate box of inquiry. -Rick Moody, Salon
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Additional info for Bowie
And then, seemingly out of nowhere, we reach an explosive climax. Bowie implores, in his best vibrato, You say you’ll leave me, Before returning to images now infused with a sense of disappointment and loss: And when the sun is low And the rays high I can see it now I can feel it die.
Then questions are raised: Is there no reason? Have I stayed too long? And then, seemingly out of nowhere, we reach an explosive climax. Bowie implores, in his best vibrato, You say you’ll leave me, Before returning to images now infused with a sense of disappointment and loss: And when the sun is low And the rays high I can see it now I can feel it die.
Similarly, in one of my all-time favorite Bowie songs, “The Secret Life of Arabia” (outrageously and ferociously covered by the late, great Billy Mackenzie with the British Electric Foundation), Bowie sings, You must see the movie The sand in my eyes I walk though a desert song When the heroine dies. The world is a film set, and the movie that’s being shot might well be called Melancholia. ” Art’s filthy lesson is inauthenticity all the way down, a series of repetitions and reenactments: fakes that strip away the illusion of reality in which we live and confront us with the reality of illusion.