‘Basil returned with the two pies. He was wearing the expression of a man who has laid hands on a symbol of his boyhood: it made him look somewhat ponderous.’ This seems a pretty straightforward example of a symbol (pie = boyhood), though the passive construction of those verbs (‘He was wearing’ and ‘it made him look’) must be seen a little warily in the context of ‘Basil’ being the ‘great actor’, Sir Basil Hunter, come back from England to Australia to ease his dying mother into an old folks’ home, secure as much of the loot as he can, and play whatever roles are required. Continue reading
THE ONE AND ONLY AUTOBIOGRAPHICAL WRITER Continue reading
When Stanley Kubrick died on March 7, 1999, there was still a little over four months until Eyes Wide Shut’s release date, July 16. There is no basis to argue Kubrick wouldn’t have altered the film right up to that date and possibly even beyond as he did with 2001 and The Shining, films most similar to Eyes Wide Shut. Michael Herr says, “…there was looping to be done and the music wasn’t finished, lots of small technical fixes on color and sound, but it wasn’t ready to show…” Continue reading
TO LIVE TO READ TO LIVE
Gimmickry attached to the world of belles-lettres has me chagrined: not the book itself, but the buying of the book, the book trailer, the story “behind” the book, the “personality” who wrote the book. The latest iteration, where reading is concerned, revolves around the reputed mental health benefits of reading, it keeps your brain fit. This may be partially true, but to use it as reasoning to do something that doesn’t call us is underhanded, bullying. A true reader, a true human, doesn’t need to be sold on anything that is so fundamental. Continue reading
At a recent event I hosted, I asked the assembled writers this question. Besides the “practical ordering of my reality” type of answer, there were also some surprises: one woman had been a classical singer, but failed, and needed to embark on something else having to do with language. One man said, I write to talk about what I read—equally unassuming. I began to think that it would be much more stimulating to know why certain writers wrote than to engage with anything they had written, especially fiction or poetry—two ultimate forms needing years of practice. It’s debatable who said, “Everyone has a book in them…” but the second clause of that sentence, as uttered by Christopher Hitchens, is as concretely dismissive of the first: “…but in most cases, that’s where it should stay.” Who would have thought there were so many writers, that oodles would have the calling—many thanks to the internet? Now there is no barrier to that fusty adage, but it might be better to say, Everyone has some opinions in them. Continue reading
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.
THE SOUNDS OF SAM LIPSYTE
In the next few weeks we will hear that Sam Lipsyte’s The Fun Parts (Farrar, Straus and Giroux) is funny, irreverent, sex-obsessed, witty, broken, indiscriminate, and wry. Listening is the key verb as concerns Lipsyte. In the best stories: “The Climber Room,” “Deniers,” “The Wisdom of the Doulas,” “Snacks,” “A Worm in Philly,” “Expressive,” “Ode to Oldcorn,” and “Nate’s Pain is Now,” readers reading to the little man or woman that controls their brains will hear in their heads a prose holding piteous subjects grandly animated with vibrant and uncanny sounds. These delightful noises are a bonus because they accompany such an unwonderful world—not necessarily an evil place, but a staging ground for the salacious and ignoble to have their way with the weaker of the species.