Furthur, Further ... that literary device on wheels, that great American rolling metaphor.
Fifty years after novelist Ken Kesey gathered his friends into a painted bus and drove a jagged route from California to New York City, the novelist's son Zane Kesey is hitting the road again, in a new bus with a new gang of Merry Pranksters, funded by a Kickstarter that has already met its goal.
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.
As Double Negative by Ivan Vladislavic begins, a hapless 80s-era hipster in South Africa named Neville Lister is listing badly:
Just when I started to learn something, I dropped out of university, although this makes it sound more decisive than it was.
He works a brainless job, pretentiously puffs on a tobacco pipe, argues bitterly with his racist neighbors while they mouth off about blacks. Neville's father happens to know a famous South African photographer named Saul Auerbach, and casually arranges for his son to spend a day on a photo shoot with him.
"The people dance passionately on the earth, sanctifying it and becoming one with it."
-- Igor Stravinsky
I'm sure it's a hipster affectation of mine: I try to listen to Stravinsky's The Rite of Spring every year when the Spring Equinox comes around. It's a hipster affectation because I don't really know much about classical music, and I can't deny that what thrills me most about this music is not the work itself but the knowledge that it caused a riot in Paris on May 29, 1913 when it was first performed. A riot in an theatre -- that's my idea of a rite of Spring.
The music sounds primal today, though it's hard to imagine how it could have caused a riot. In fact, it was not the music as much as the ballet, daringly choreographed by Vaslav Nijinsky, that caused the sensation. Le Sacre du Printemps was a Russian debut in France, and as such a symbolic meeting between two nations that would one year later go to war together against Germany, Austria-Hungary and Turkey.
While I've heard the music often, I've never seen the work performed, and I've only just become aware of a Joffrey Ballet video that presents Stravinsky's music and Nijinsky's ballet in context -- Pictures of Pagan Russia is the subtitle -- so that we can get a better idea of what the whole sensation was about. Here's the first of three parts; you can click through from this one to the next two.
(Eamon Loingsigh is a New York City novelist who has written articles for Litkicks about Lautreamont, J. D. Salinger and Taylor Mead. His latest work is Light of the Diddicoy, and here's how this novel came to be.)
First things first, I have no choice but to write. I am a writer. I write. I made a decision long ago that in my life I will either be a writer, or a failed writer.
My first two books, the novella An Affair of Concoctions and the poetry collection Love and Maladies, got me started, but I decided to gain a larger audience by utilizing my storytelling with a more popular topic.
I have noticed over the past few years the acceptance of genre writing as literature. There are many examples of this crossover, but maybe the most popular would be Cormac McCarthy's dark Westerns. I am no super-fan of his work, but I was impressed that he moved the genre from the separated "Westerns" bookshelf to mainstream acceptability, with Harold Bloom even declaring McCarthy's work "literature".
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.
A video that's been making the rounds about a clueless super-wealthy plutocrat who compares America's treatment of the rich to the Holocaust and brags about his wristwatch that's worth "a six-pack of Rolexes" has got me to thinking. The most revealing thing about this video is the boyish excitement this 80-year-old former investor seems to feel about his expensive watch. He, like some others who argue for pro-wealth policies, seems to think that liberals and progressives who want to tackle the problem of income inequality are suffering from Rolex envy.
I wonder what it would feel like to wish for an expensive watch. I don't know how much a Rolex costs, but I've never remotely yearned for one, and if I owned a Rolex I wouldn't want to wear it. I don't wear a wristwatch at all, and really don't understand why anyone does. An expensive watch doesn't strike me as an attractive object the way that, say, an agate or a piece of ocean glass is. Gold and silver are not my favorite colors. And when I want to know what time it is, I just look at my phone.
And yet I've heard from economic conservatives that economic progressives like me must envy the rich. I really don't think most of us do. The lifestyle of luxury is not always attractive, even when it is curious. At most, most of us envy the freedom that would come with a moderate amount of wealth, and that's as far as the envy goes.
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.