The Harvard Law Record recently did a profile piece on me, “From Law School to Novelist and Art Critic.”
Alexander Boldizar ’99 became recognized by Slovakia’s president as the “first Slovak citizen to graduate from Harvard Law School” when, as he puts it, “small country nepotism” got him back the citizenship he’d abandoned in 1989 (he thought it would be unsafe to keep it during a visit to the crumbling Berlin Wall). Since then, he has managed an art gallery in Bali, established a flourishing career in editing and freelance writing, and has continued to seek publication of his magnum opus, The Ugly, a satirical novel about a dispossessed Siberian tribe that sends one of its members, Muzhduk, to learn the ways of lawyers from HLS, a plotline which helps express Boldizar’s frustrations with law and legal reasoning. Below, Boldizar writes on his path from the law to novelist and art critic, followed by an excerpt from The Ugly.
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Reprinted from C-Arts Magazine, July 2010.
“The purpose of poetry is to remind us how difficult it is to remain just one person.” —Czeslaw Milosz
Ashley Bickerton’s paintings are a form of combat between attachment and its opposite, a fusion of subject matter with distance between the parts. His mastery of tone—tone as defined by writers, not painters; that elusive internal, fluid, ambient quality in art that is shaped by the attitude of the artist towards his subject, or towards his audience, or towards himself and his way of painting, that nearly impossible-to-define tug of war—through a dialectic, sometimes dialogic, angular use of tone he holds things together but also always apart, and that is refreshing. Total integration is a terrible thing. In any work of art, and probably in life as well.
Chekov once said that if a playwright hangs a gun on the wall in the first act, there had better be a murder by the third. And that is the reason I don’t watch plays, except when they’re written by a friend and I can’t find an excuse fast enough. They feel claustrophobic, an elevator, a closed box taking you in a simple line, opening up into the deracinated self-consciousness of the artist’s private aesthetic salon or, at the very least, onto a grotesque scene of the artist clutching his subject like a monkey.
It’s exhilarating to find an artist who can sip a slurpie while watching an atrocity without losing his capacity for care.
I stood in Bickerton’s Bali studio looking at Preparation with Green Sky, a vaguely Polynesian bacchanal taken to bounteous limits, and a part of my mind kept drifting towards the callipygian shape in the background. “I like something about the unselfconscious glee in which the fecund young women proffer their piglets and their buttocks to no one in particular while the blue man offers his bounty directly to the viewer,” Bickerton says.
And the critic answers, “I can’t stop looking at that butt.”
Continue reading Ashley Bickerton’s Sad Anthropologists
Reprinted from Liberty Magazine (October 2009)
Over the years the people I’ve met who self-identify as “anarchists” tend to be among the dumbest and the smartest people I’ve had the pleasure or displeasure of knowing. Very few reasonable people attach that label to themselves. In an attempt to avoid being lumped with the dumbest, I thought I’d distill my reasons for doing so, from the least to the most important.
1. Anarchism as the conscience of law. Given democratic notions of legitimacy, the fewer people who believe in “the rule of law” (i.e., the more who believe it is just a veiled imposition of power), the more transparent the veil, and the more the law has to obey its own rules in order to maintain legitimacy. When rule-of-law marketing and propaganda are insufficient to create legitimacy, the powerful have to limit the arbitrary use of their power and shrink the number of cases they can treat as extraordinary. Anarchists weaken the faith element within law, and by doing so force it to obey its own rules.
Continue reading The Happy Anarchist
The River Lena
Reprinted from Transition Magazine, issue #96, where it was published as The River Lena. Official representative of Bread Loaf Writer’s Conference to Best New American Voices Anthology.
Muzhduk stepped left to put himself in the path of the flying boulder. It was the size and shape of a small woman curled up in a ball, but much heavier, and it came at him like a cannon shot. Muzhduk leaned forward to meet the boulder, knees bent, hoping to absorb the impact with his legs. He staggered backward with the force of the blow, but did not drop the big rock.
The audience erupted with clapping, cheering, and mumbling, and a cloud of yellow butterflies scattered from the noise. His opponent was Hulagu, arguably the strongest Slovak in the tribe, and all six villages were present for the Dull-Boulder Throw. All the Slovaks who lived in the mountains of northeastern Siberia were there, lined up along the edges of the saddle-shaped mountain ridge. Even those so old or sick they knew the trip would kill them. Two had died on the way.
The audience looked at Muzhduk intently. He knew that some of them were wondering whether he would disqualify himself. He hadn’t ducked or moved out of the way, of course, but no one had ever tried to absorb the shock with his legs before. Arms and chest were normal, and he could see Hulagu bite his fat lips wanting to make a charge of dishonor, which would itself be dishonorable.
Continue reading I, Muzhduk (prologue of The Ugly)
Reprinted from the Chicago Quarterly Review (summer 2008)
Do you know where we are?”
“There are no lights. I’ve never seen a city like this.”
“I know where we are.”
Eve pulled on her fingers, one by one, to crack them. Frank drove and she watched the road. When she finished with both hands, she said, “I wish there were people around.”
Continue reading Metropolitan Avenue
Reprinted from Fiction International, issue #38. Winner of PEN/Nob Hill prize for best novel excerpt.
“Keep your legs closed!” the midwife yelled at Ibu. “Don’t you let that baby out!”
But Ibu couldn’t hear the midwife cursing her, threatening to keep the gate closed if Ibu didn’t listen. She was beside herself with pain. The women had not given her any painkillers so that her will would be strong, so she would keep the presence of mind to hold the baby in one more day.
The battle was hopeless. They had tried everything to prevent Ibu from giving birth that day: all morning they’d fed her very young pineapple, bitter pineapple the size of a fist, pineapple after pineapple until she was ready to burst, until it became an almost abortive dose despite the ripeness of the baby. Then they went past that threshold, letting the wind choose the lesser evil. All in vain.
Continue reading Pulling Shadows
Before the Law: a Rebuttal
Reprinted from the Chicago Quarterly Review, winter 2007. It’s a modified excerpt from The Ugly.
Muzhduk walked to the centre of the Quad. Everything was stately, romanesque, the buildings buttressed, cloistered, but varied: three hundred years of red brick architecture around one long rectangle of green grass criss-crossed with narrow, straight asphalt paths, spotted with American Elms someone had sat and calculated the optimal location of each tree, though many were now suffering the yellow wilt of Dutch Elm fungus — and the whole Yard felt carefully spaced and defined, even the sky above marked and divided by branches.
He walked north, past dormitories, libraries, halls, and chapels, past a statue of a man sitting in a large chair (the statue said, “John Harvard, Founder, 1638”), past an old wooden water-pump shaped like the hunched Russian babushkas he’d seen in Anadyr, Yakutsk, and Omyaykon.
Continue reading Before the Law: a Rebuttal
Reprinted from Literary Imagination: The Review of the Association of Literary Scholars and Critics, Vol.7, No.3, Oxford Journals. It is an excerpt of The Ugly.
I stood in the back of a pickup truck. It was a 32, distinguished from a 13 or a 17, although some large mini-vans are also 32s. Thirty-two people arranged with precision into the back of a Toyota pickup, we were on our way from one sandy part of the Sahara to another. The Sahara desert has things other than sand, but the part where we started, the part we traversed, and the part where we hoped to arrive were all sand, a beige, nondescript sort of sand which did not always stay on the ground.
A mother sat on my feet, nursing her daughter, while we bounced over soft little dunes and exposed rock. With her weight as ballast, and with the sharp metal bar corralling the edge of the pickup, I could sleep while standing. In those parts where the acacia was sparse, where I didn’t have to duck.
Continue reading Bureaucracy
Reprinted from C-Arts Magazine (April 2010).
A long long time ago, in a land far far away, I ran a gallery that had a philosophy of integrating art and life. Gaya (in Bali) includes a restaurant and, after I left, added a gelateria. I love gelato, mostly because it comes in hazelnut. “Ice cream” doesn’t come in hazelnut. It comes in double-caramel-fudge marshmallow rocky road, chunky monkey, or whatever flavor can stuff the most chocolate, nuts, and other goodies into an ice cream bucket. The more explosions, the better the ice cream. Like a Hollywood movie.
On most days I’ll take Taxi Driver over Tarkovksy’s two-hour landscape pans, and, similarly, I’ll usually take a Brooklyn pizza over its poor Italian beta version (do I dare wax poetic about the lasagna pizza at Broadway and North 7th, run by Mexicans, a full lasagna on top of a pizza, or would that kill what little is left of my credibility?) But ice cream’s not pizza. There’s something about the purity of a hazelnut gelato that trumps the multidimensional density-whorls of New York Super Fudge Chunk.
Continue reading Edible Language
Reprinted from C-Arts Magazine, January 2010.
“Homo vult decipi; decipiatur.”
.Through years of traveling the world and writing articles in magazines, I’ve developed psychic powers. I can influence your actions by controlling the cadence of the text on the page as you read it. Unlike some charlatan astrologers, psychics and witch doctors, my skill is based in science, a lifetime of studying how the rhythm of language influences brainwaves, particularly certain passages buried deep within the English language, passages that were dictated to me by an old woman, a hermeneutic. The study of those passages demanded supreme scholarship to interpret, years of intense application, and it has still not been wholly worked out. In order to help me, the old woman gave birth to my grandmother, who bore my mother. When my mother gave birth to me, there I was, deciphering the dictations of the old woman.
Continue reading Magic