Don Carpenter was a writer’s writer. Born in Berkeley, California in 1931, he grew up there and in Portland, Oregon, served in the Air Force during the Korean War, and returned to earn a B.S. from Portland State and an M.A. in creative writing from San Francisco State. In 1966 his first novel Hard Rain Falling was published to critical acclaim, and for the rest of his life he was a professional writer. He lived in Mill Valley, California and was part of a group of writers—Evan Connell, Curt Gentry, Leonard Gardner, Gina Berriault and others—who met regularly at the Book Depot there, and at the no name bar in Sausalito.
Carpenter was never as successful or celebrated as his good friend Richard Brautigan. His novels and short story collections were praised by critics and fellow writers but did not sell well. He found work in Hollywood as a screenwriter, most notably for an unproduced screenplay of Charles Bukowski’s Post Office, and for Payday, starring Rip Torn as a country music singer. His novel about show business, A Couple of Comedians, was praised by Norman Mailer as “the best novel I’ve ever read about contemporary show biz.” Anne Lamott dedicated her 1994 book Bird by Bird to Carpenter, and praised his then work in progress Fridays at Enrico’s as a masterpiece in the making.
In 2002, filmmaker Richard Linklater selected a six-year-old actor named Ellar Coltrane to be the star of his new movie Boyhood, which was expected to take twelve years to film.
Linklater also cast seasoned actors Patricia Arquette and Ethan Hawke to play the boy’s divorcing parents, and signed his own eight-year-old daughter Lorelei Linklater on as the older sister. Big sister Lorelei steals the show in the movie's first couple of scenes, first with a Britney Spears dance number, and then with a temper tantrum at a family meal. This is where Boyhood’s journey begins. When the movie is over, twelve years or two hours and forty-five minutes later, all of the characters has been transformed, and the audience has been transformed too.
I’m a Richard Linklater fan — sure, I love Slacker and Dazed and Confused, though I never got to see the Trilogy. I'm probably in the minority among Linklater fans because I like School of Rock better than Dazed and Confused. But I have a new favorite Richard Linklater film today. Boyhood is his masterpiece, the most fully realized work of his career.
Sometimes shuffle mode on my iPhone really comes through for me. I was having a pretty bad day yesterday, and it found a song that cheered me up.
I was having a bad day for a few different reasons. The biggest is something that's been going on for a while now. An older member of my family -- a person who I really care about and have always had a great relationship with -- has been stricken with a cruel health problem, and is suffering a lot.
This kind of ordeal puts other problems in a certain perspective, but not necessarily a perspective that's helpful. For instance, I've been looking forward to celebrating the 20th anniversary of this website on July 23rd, but I've also been feeling very frustrated about my progress as a writer. During those poisonous moments in which everything on Earth seems pointless, I can only see this blog as a symptom of my chronic need to be idiosyncratic at any cost, and thus as a bizarre monument to my own lifelong failure.
Well, okay. Failure's been in the air, and not just for me: failure to communicate, failure to reach, failure to deliver. Failure seems to have been trending lately, at least in my corner of the universe. An insane incident occurred yesterday involving one of my favorite people in the literary world, a person who must have been soaking in his own psychological poisons during the same moments that I was too. Everything turned out okay, but for a few moments the incident got frightening, and after it was over it all seemed like a sign of a sort of general despair among many of my writer friends, all of whom have moments in which we feel desperately starved for connection and validation. Another friend who was caught in this whirlwind summarized her takeaway from yesterday's public drama with this accurate tweet:
I used to go to BookExpo in New York City every Spring. It was a grand event, a joyous social swirl of writers and publishers and editors and bloggers and critics. But, regretfully, I stopped going to BookExpo a couple of years ago. Some friends tell me the event has shrunk and that I'm not missing much. But I know I'm missing a lot whenever I get a chance to hang out with book people.
This year, I strangely found myself for the first time at DrupalCon, an amazing gathering of web development technology gurus, experts and dabblers who use the very powerful Drupal open source platform to build websites. I've been a Drupal developer since 2009, and I ported this blog from WordPress to Drupal in 2010. Drupal has been both my day job (currently, an exciting new federal government health information and community website launching in October) and my personal obsession. This is my first DrupalCon, my first chance to hang around with thousands of other developers who are as obsessed as I am.
Every once in a while I find myself wondering why I run a blog series called Philosophy Weekend that doesn't necessarily resemble anybody else's idea of what philosophy is, and maybe also doesn't necessarily resemble anyone's idea of what a weekend is.
I was in one of these questioning moods a few days ago when I watched an excellent film on late-night cable TV that gave me the insight I needed at the moment: Happy-Go-Lucky by Mike Leigh.
I love Mike Leigh's humble, amusing movies, which are almost always about ordinary British people dealing with ordinary problems. In Secrets and Lies, an adult woman finds the mother who gave her up for adoption. Nuts in May takes place in a nature camp where a boisterous partier sets up a tent next to two stern hippies. Vera Drake is about a woman who secretly performs illegal abortions. Leigh's masterwork Topsy-Turvy imagines the backstage action behind Gilbert and Sullivan's premiere of "The Mikado".
A Mike Leigh movie doesn't look or feel like anybody else's movie. The sets and performances aim to be completely natural, and his sensitive performers don't overact for the cameras but rather move and speak like real people do: polite, hesitant, often unsure of themselves. In a typical schlocky Hollywood movie, a married couple having an argument will often yell at the tops of their lungs, even when they're standing face-to-face only inches away from each other. In a Mike Leigh movie, a married couple having an argument looks like a real married couple having an argument. When a Mike Leigh film suddenly explodes into a sneaky emotional climax (as they tend to do) we are reminded of the communicative power of a quiet speaking voice.
Happy-Go-Lucky is a classic Mike Leigh setup. Poppy, a London schoolteacher played by Sally Hawkins, has a strange quirk: she's relentlessly cheerful, gabby, upbeat. Everywhere she goes, she compulsively cracks jokes, breaks rules, calls attention to herself. She knows that people find her energy level odd amd annoying, and she also knows that her manic style amounts to one of many life choices she's implicitly made that have not worked out particularly well.
She finds her opposite when she signs up for driving lessons with a tense driving instructor played by Eddie Marsan. He objects to her chattiness, asks her to wear proper footwear, makes racist remarks about other drivers. The confrontation that finally erupts between this dour man and this ebullient woman is the transformative event in this film, as Poppy learns the full impact of her behavior on others, and comes to realize what her quirky commitment to joyful living is grounded in.
Sometimes I find it hard to believe that my blog is almost twenty years old. Well, sometimes I also find it hard to believe that my youngest daughter is almost twenty years old. (They were born the same year, and they both grew up so fast.)
Literary Kicks will turn twenty on July 23, 2014. I have no idea how I'm going to celebrate, but I might keep it low key. For the 5th birthday in 1999, I threw a big party at the Bitter End nightclub in Greenwich Village. For the 10th birthday in 2004, I hosted an all-night online poetry jam with Caryn and Jamelah during which I remember falling asleep at least once. For the 20th, I might just stay home and feed the cats.
Maggie Estep, the charismatic and accessible spoken word poet and author, has suddenly died of a heart attack. She was 50 years old.
Maggie Estep was a big part of the slam poetry scene that emerged from Chicago and New York City in the 1980s and briefly flared into pop culture via MTV in the early 1990s. Her early published works include records like Love Is A Dog From Hell. Later, she published novels including Alice Fantastic and the Ruby Murphy mystery series.
He was the oldest of the major Beat Generation writers. That's why William S. Burroughs is today the first Beat writer to celebrate a centennial.
Burroughs was born on February 5, 1914. He arrived on this planet the same year as the First World War.
Some people don't call Burroughs a Beat writer, because they prefer to think of him as a postmodern experimentalist, or a psychic investigator, or a political activist. He was those things too, but of course he was a Beat writer.
One of the first pages I ever created on this website was a biography of William S. Burroughs, and I also typed in a favorite piece of text from his signature novel Naked Lunch, titled Bradley The Buyer. Today is the hundredth birthday of William S. Burroughs, and as part of the celebration I'm running this excerpt again. The illustration was created for this piece for Literary Kicks by the awesome artist Goodloe Byron, proprietor of Stone Bird News.
I noticed something strange when I read folksinger Dave Van Ronk's awesome autobiography a few weeks ago. The gruff ethnomusicologist remembered most of his old friends with sarcasm and bittersweet wit ... but he had nothing but full-throated words of love for Pete Seeger, his elder journeyman who has just died at the age of 94. Van Ronk honors him in this book by reprinting in full a column he wrote in 1958 in the early folk music zine Caravan.
Van Ronk's article must be understood in the context of the small, fervent community of working Greenwich Village folksingers in the late 1950s, just before Joan Baez, Peter Paul and Mary and Bob Dylan would arrive to blow up the scene. Among these earnest young artists, the music of an established and (already then) older folksinger like Pete Seeger might seem corny. Seeger's strong left-wing opinions might also seem oppressively rigid or tradition-bound to a younger crowd. This critical attitude is the attitude Van Ronk is countering here, in what amounts to a contrarian thinkpiece from 1958.