Wouldn’t it take an outsider to aptly critique the American scene, the American people, the American culture? Hugh Kenner, a Canadian, did this at the end of a section devoted to Wallace Stevens and William Carlos Williams in his book A Homemade World: The American Modernist Writers. A book dedicated to Guy Davenport. A book on Donald Barthelme’s syllabus.
25 remaining, & here they are, picking up where we left off, with Tolstoy & his disgraced Natasha
26) The Prince has immersed himself in war work, Napoleon’s on the march, and Natasha attempts suicide, arsenic, then spends weeks in bed. Only her old friend Pierre, our hero more or less, can wring from her an agreement to meet.
27) Pierre’s no innocent himself, though rather a bumbler, badly married, an embodiment of how the good in Russia has gone sour, but Natasha always liked him and when they meet, in the parlor, they’re chummy a while.
28) But finally Pierre has to ask, “Could you really love… that evil man?” aware even as he asks that he’s bumbling again, sounding full of hoke, and yet at his question Natasha undergoes another of those reality-replenishments. Continue reading
A friend recently alerted me to a post at Geek System (“Found Poetry in Magic: The Gathering Cards”): a fellow named Adam Parrish made some short poems by blacking out selected text on Magic cards:
You can find more of Parrish’s poems here. He says of them, “[s]ome of these turned out well, some not so well,” but he’s being overly modest: most of the pieces are pretty witty, especially given the limited amounts of text he had to work with.
But what most caught my attention was the following claim in the Geek System post:
Inspired by Austin Kleon? Who’s Austin Kleon? And don’t they mean, “inspired by Tom Phillips’s A Humument“?
He’s become a punchline here in the US, but that doesn’t make Jerry Lewis any less of a cinematic genius. Case in point: his 1961 masterpiece The Ladies Man:
Whether you’re a fan of Lewis’s eccentric comedy or not, this film is worth watching for its legendary “dollhouse” set alone, supposedly the largest built by that time (it occupied two Paramount soundstages), and still one of the most elaborate ever constructed.
Stanley Elkin proved remarkably supportive and generous with me, c. 1977 in Boston. He’d come to town as a visiting writer at Boston U., just another of the amazing lineup (Barth, Barthelme [Donald], Cheever [alcoholic, alas], more…) brought in by George Starbuck while he was running the writing program. I was a recent graduate and still spending a lot of time in the department, while freelancing as a teacher and writer in town. I’d read a couple of his novellas, stuff that later wound up in Searches & Seizures and The Living End, and I’d started A Bad Man after seeing Gass recommend it in one of his essays, then had it snitched off my seat by a stranger on the MBTA.
The photo used elsewhere on Big Other is the figure I recall. Elkin and I met at a department function and, drink in hand, he proved a delightful sourpuss, for instance regarding his friend Bill Gass. “Listen,” he groused, “I’ve written better novels than Bill ever will.” This with obvious fondness! And energy, too — this was before Elkin’s MS put him in a walker. I don’t even recall seeing him with a cane. Continue reading
[This post is something of a response to John's recent post, and some of the comments made there by Darby, John, and me.]
Back in high school/college, my favorite filmmakers were Terry Gilliam, Stanley Kubrick, Peter Greenaway, and Martin Scorsese:
As you can see, I gravitated toward a visually spectacular cinema. Everything else looked so boring! So mundane!