Derek Neal lives in Hamilton, Ontario where he teaches English to international students as part of the English Language Development program at McMaster University. Prior to this he lived in Italy, France, and Montreal, where he also taught English in various capacities. He holds a B.A. in both English and French from the University of Vermont and wrote his honors thesis on Albert Camus (Grace, Play, and the Body in the Writings of Albert Camus). His other writing is available on Substack: https://derekneal.substack.com/ Email: drock1237 [at] gmail.com
by Derek Neal Some weeks ago I made a note to myself on my phone: Describe the artistic encounter—the aesthetic experience, its effect on the reader I made this note because I wanted to try something different in my writing. In most of my essays, without ever articulating this idea to myself, I’ve attempted to…
by Derek Neal Close-Up, a 1990 Iranian film directed by Abbas Kiarostami, is one of the rare films where the viewing experience is enhanced by knowing certain details beforehand. The movie opens with a scene in a taxi. A journalist is in the front seat while two armed military police officers sit in the back.…
by Derek Neal I read the opening of Peter Handke’s A Sorrow Beyond Dreams and immediately thought of Camus’ The Stranger. Here is how Handke begins: The Sunday edition of the Kärntner Volkszeitung carried the following item under “Local News”: “In the village of A. (G township), a housewife, aged 51, committed suicide on Friday…
by Derek Neal What do swimming, running, bicycling, dancing, pole jumping, tying shoelaces, and reading all have in common? According to John Guillory’s new book On Close Reading, they are all cultural techniques; in other words, skills or arts involving the use of the body that are widespread throughout a society and can be improved…
by Derek Neal I was recently subjected to an hour of the “All In” Podcast while on a long car ride. This podcast is not the sort I normally listen to. I prefer sports podcasts—primarily European soccer—and that’s about the extent of my consumption. I like my podcasts to be background noise and idle chatter,…
by Derek Neal On November 5, 2024, at around 10:30 pm, I walked into a bar, approached the counter, and sat down on the stool second from the right. I ordered a stout because there was a slight chill in the air. As this was the night of the American presidential election, I pulled out…
by Derek Neal The opening credits of Affliction (1997) feature small, rectangular images that fill only half the screen. You wonder if something is wrong with the aspect ratio, or if the settings have been changed on your television. A succession of images is placed before the viewer: a farmhouse in a snowy field, a…
by Derek Neal I was in Toronto the other day to see Paul Schrader’s newest film, Oh, Canada, which was screening at the Toronto International Film Festival (TIFF). This was my first time seeing a movie at a festival, and the experience was quite different from seeing a movie at a cinema: we had to…
by Derek Neal The Mezzanine by Nicholson Baker is a novel about paying attention. After you read a chapter, you, too, begin paying attention to things you’ve never noticed before. On my way to work this morning, gliding down quiet, leafy streets in my 2012 Mazda 3 GS-SKY, I noticed a new sign. It was…
by Derek Neal Karl Ove Knausgaard went around for many years claiming that he was sick of fiction and couldn’t stand the idea of made-up characters and invented plots. People understood this to be an explanation of why he had decided to write six long books about his own life. There was some truth in…
by Derek Neal Have you ever read a book that you thought you were going to write? A book that captures something you’ve experienced and wanted to put into words, only to realize that someone else has already done it? The Apartment by Greg Baxter is that book for me. The Apartment was published in…
by Derek Neal An excerpt of Rachel Cusk’s forthcoming novel, Parade, appeared in the Financial Times last week. The story features two narratives, one about a female painter simply referred to as “G,” told in third person, and another about a group of people visiting a farm in the countryside, told in first person plural.…
by Derek Neal There is a meme on the internet that you probably know, the one that goes, “Men will do x instead of going to therapy.” Here are some examples I’ve just found on Twitter: “Men will memorize every spot on earth instead of going to therapy,” “men would rather work 100 hours a…
by Derek Neal I was listening to “My Turn Now” from Atlantic Starr’s 1980 album Radiant when my friend complained that “they just say the same thing over and over again.” This is true. The part of the song that elicited this comment was near the end, when the lead singer and the backup vocalists…
by Derek Neal A few days ago I watched The Yakuza (1974), Paul Schrader’s screenwriting debut, and the following day I saw Andrei Tarkovsky’s Nostalghia (1983) at the cinema. These two films would never feature on a double bill together, and yet, due to having watched them within 24 hours of each other, they seem…
by Derek Neal 1. Three men walk across a desolate landscape. They are dressed in robes, but they might as well be rags. One is barefoot, and the ground is muddy. Who are they? Where are they going? “There must be lots of painters in Moscow,” the one called Daniil says. “No matter, we’ll find…
by Derek Neal I simply can’t seem to stop writing the same essay over and over. This is, I admit, not a great opening to a new essay. If all I do is repeat myself, why bother reading something new from me? Fair enough. You’ve heard it all before. But allow me one objection, which…
by Derek Neal Alberto Moravia’s 1960 novel Boredom begins and ends with the narrator, Dino, describing his relationship to external reality. He does this, in the first instance, by describing a drinking glass, and in the second instance, by describing a tree. Here are Dino’s thoughts in the prologue: “The feeling of boredom originates for…
by Derek Neal The narrator of Alberto Moravia’s 1960 novel Boredom is constantly defining what it means to be bored. At one point, he says “Boredom is the lack of a relationship with external things” (16). He gives an example of this by explaining how boredom led to him surviving the Italian Civil War at…
by Derek Neal In 1970, Pier Paolo Passolini directed a film titled Notes Towards an African Orestes, which presents footage about his attempt to make a movie based on the Oresteia set in Africa. The movie was never made. In the same way, this article will be about a series of essays, or perhaps a…