As Mike Leigh's majestic new movie Mr. Turner begins, the famous British artist J. M. W. Turner's father buys pigments for his son in a dusty London shop. The vast psychedelic arrays of glass jars filled with powders of viridian, chrome, cobalt, barium and ultramarine seem as magical as Diagon Alley in Harry Potter or the Cheese Shop in Monty Python. The pure pleasure of this visual moment is a happy indication that Mike Leigh intends to luxuriate in the beauty of 19th Century England as joyously as he did in Topsy-Turvy, his previous biographical epic, and for Mike Leigh fans this is very good news.
It's a telling fact that as I settled in to watch a movie starring the great actor Timothy Spall as the influential British painter J. M. W. Turner, the artist I was mostly thinking about was Mike Leigh. He is one of my favorite living film directors, but he mostly turns out sensitive modest-budget films about regular people in contemporary settings (I wrote about one of these, Happy Go Lucky, last year). He is known for a low-key natural style, but when he delves into grand history (as he did in Topsy-Turvy, in which Gilbert and Sullivan debut The Mikado at the Savoy) he spares no expense on sets, costumes and period detail. I can think of no other historical film director who achieves such a convincing sensation of realism. When Mr. Turner strolls the riverfront at Margate, we can practically feel the refreshing spray on our cheeks.
"What’s your road, man? — holyboy road, madman road, rainbow road, guppy road, any road. It’s an anywhere road for anybody anyhow ..." -- Kerouac
If you've hung around Literary Kicks for a while (and, yes, it certainly has been a while), you know this website is always in the process of becoming something else. That's probably why the site is still alive, why it's managed for so long to remain essentially itself.
As the year 2015 begins, I sense a new pivot coming along, and like always the transformation will be gradual. I am beginning a new writing project, though I'm not quite ready to show anything yet. The main result so far has been my lack of activity here. I try to publish at least one new blog post a week, but I think the blogging schedule on this site will have to remain slow for a little while longer, until I get this new thing up and running.
A strange kind of anxiety can occur when attending a concert by an artist like Bob Dylan. I was struck by a sense of this anxiety as I stepped into Constitution Hall in Washington DC last night. I began to worry that it would impact my enjoyment of the show.
This can happen. A few years ago I attended an amazing Ralph Stanley show in a smoky nightclub in Virginia. All night long, I felt so overwhelmed by the fact that I was sitting there staring at one of the very inventors of modern bluegrass style, the small craggy old man calmly shredding his banjo strings in front of my eyes, that I forgot to tap my feet.
I think of this sensation as a form of anxiety because it's a self-disturbance, an unwanted reaction. When I have the privilege to hear a musical genius in person, I want to simply sit there and enjoy the music. I want my brain to be quiet while the sound waves soak in. Instead, I sit there pondering the significance to musical history. This happened to me in an especially bad way in 2006 where I luckily found myself at the famous Jay-Z concert in New Jersey where Nas came out to end his beef with Jay, and to share the mic with him on "Dead Presidents".
I was already very pumped at this point in the show, especially since Jadakiss, Sheek Louch, P Diddy, T.I., Freeway, Young Jeezy and Kanye had already been on stage -- so when Nas showed up, what did I do? I pulled out my phone and texted Caryn, and since this was 2006 and I wasn’t very handy with texting yet, this ended up taking a while, which distracted me from living in the moment itself. (Caryn later told me that she never saw the text anyway, as she had already gone to sleep).
I used to read short stories all the time. At one point, I was more into short stories than novels.
Well, why not? This was back when Raymond Carver, Ann Beattie, Tama Janowitz, Lorrie Moore, John Updike, Cynthia Ozick, Alice Munro and William Trevor were all putting out stuff on a regular basis. It sure did seem like a golden age.
I never put much stock in golden ages, though. I'm sure there are just as many good short story writers out there today as there were in the Breakfast Club years. But I'm not always sure who these short story writers are. So, I made it a point to read three recent volumes by three acclaimed short story writers recently. I must have chosen well, because I struck gold of some sort with all three.
Flings by Justin Taylor
I almost had a bad experience with Flings by Justin Taylor. This is probably because I didn't begin on the first page, but instead skipped ahead to the one story named after a Phish song. This turned out to be one of the only stories in the book I didn't like.
Justin Taylor is the kind of hip young over-educated brooklyn writer I might never have noticed if he didn't have one quirk that caught my attention: his substantial knowledge of the Grateful Dead and Phish. Stereotypes about batik-wearing aisle dancers aside (and really, these stereotypes have become extremely stale), there is a lot of fresh energy and intellectual depth in our long-running jamband subcultures, and it's about time a hip young over-educated brooklyn writer decided to turn these subcultures and their fringe members into material for fiction.
I thought Justin Taylor really nailed the aching sweetness of modern-day hippiedom with his clever novel The Gospel of Anarchy, which is about a houseful of collegiate Florida neo-Situationists who conjure up a new religion from the filth of their communal kitchen. I remembered this book for its warm characters, but I was left cold by the selfish and thick-headed Dad who takes his gloomy children to a Phish concert in "Mike's Song", the first story I read in Flings. Perhaps I came to this story with unfair expectations, but I can't help hoping that a story about a Phish concert will capture some of the joyousness of the actual event. I didn't get the point of this story, and I couldn't help wishing Taylor had written with the mood of the story's setting instead of against it.
I then had a rough time with the opening story of Flings, which is also the title story of the collection. I found myself wearied by the endless stream of jumbled hapless college graduates who work for non-profits and try heroin and gossip about each other. Finishing the story, I had no idea what I was supposed to feel. I later read the acknowledgements at the end of the book:
"Flings" is, among other things, in loose homage to Virginia Woolf's 'The Waves'
To which I thought: thanks a lot, Justin, but you could have at least told me about the required reading in advance. All would be forgiven, of course, if the story worked on its own, but I don't think it does.
Fortunately, Flings immediately got better for me once I proceeded to the next story, Sungold, a playful romp that takes place in a college-town vegan pizza chain store, featuring a few of the wan anarchists and naive idealists Taylor draws so well. Then I loved Poets, maybe the best story in this book, which follows two egotistical young creative writing program junkies from their sophomoric beginnings to the eventual ravages of middle age, literary obscurity and romantic disconnection.
Even if it doesn't manage to find joy at a Phish concert, Justin Taylor's Flings is a delightful postmodernist grab bag, an accessible series of experiments in irony and attitude. The collection's title describes the book well: some of these flings don't fly, but that's the nature of a fling.
D. G. Myers, a celebrated literary critic, professor and blogger, died quietly of cancer in late September. For many like me who only knew D. G. Myers through his writings and online presence, his death was no surprise. We had read about it on A Commonplace Blog or in Time magazine, or in his much-praised podcast for the Library of Economics and Liberty just a few months before he died.
As his cancer worsened, D. G. Myers also expressed his feelings in occasional bursts on his beautiful Twitter account. Always a writer first, his tweets were unfailingly elegant, measured and dignified. Even when he could only manage bitter humor and wry regret for his family's shared suffering as he tweeted his way through chemotherapy during his last weeks on Earth:
(I didn't make it to the Brooklyn Book Festival this year, but Tara Olmsted did, and here's her report! -- Levi)
The Brooklyn Book Festival can be a mixed bag. At its worst the annual autumn event is complete chaos: no consistent theme, hot and crowded rooms, poorly moderated panels, no-show authors, smug hipsters as far as the eye can see. This year's list of participating authors is less exciting at the outset than in previous years: the type of book being discussed on all the panels feels pretty much the same, as if some kind of homeostasis has been achieved.
But at its best, the Brooklyn Book Festival s a platform for small, independent presses. Publishers like Melville House, New Directions, & Other Stories, Europa, Other Press, Archipelago and Greywolf are there. (Technically some of these are not exactly indie publishers anymore, like New Directions, which has been absorbed by the big five publishing conglomerates. I still consider the presses “indie” because they’ve managed to retain the literary identity and traditions on which they were founded.)
Smaller indies are here too: Zephyr, Bellevue, The Head & The Hand. There are literary magazines: BookForum, The Paris Review, NYRB and Lapham’s Quarterly. And many of Brooklyn’s independent bookstores attend, including WORD, The Community Bookstore and Greenlight. There’s a lot to discover at the outdoor booths. And for me the highlight of the festival has always been (and remains) the author panels.
I moved to northern Virginia in 2009. There were a few good surprises down here for this lifelong New Yorker, like the easy proximity of the thrilling Shenandoah mountains and rivers, and the rich, stark beauty of several Civil War battlefield parks that dot the region in a wide arc around Washington DC.
I found a few bad surprises here too, like the fact that this state hates public transportation. Train tracks are everywhere in northern Virginia, but you can't catch a train into Washington DC to see a baseball game or visit a national monument on a weekend, because there are no trains for people. This probably has more to do with Virginia's desire to keep people from Washington DC out than its desire to keep Virginians in. It ends up having both results.
So I found some good and some bad when I moved down to Virginia, and I also found some funny/crazy. Like the politics, which are entertainingly out of control.
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.
It's because words are such effective tools of communication that we sometimes fail to realize how often we communicate without them. A conversation is sometimes a physical exchange. These conversations carry meaning that can only exist in the physical realm.
We signify to each other with words, with gestures, with emotional expressions. We also signify with commitments, with actions, and when this occurs (as it constantly does in our everyday lives) we are able to see that logical meaning is itself a physical thing. We can't say what we want to say without putting our bodies into it.
For example: my wife and I go to a wedding of a friend of hers who we haven't seen in a while. We both like the bride and groom a lot, and we used to enjoy hanging out with them, but tonight we barely get to talk to the marrying couple because they are so busy running around being the bride and groom. Still, we are glad we came to the wedding, because we are able to express something to the couple by being there. They know that we are there because we want to celebrate their marriage, and this recognition (which might not take place till weeks later when they see their wedding photos) amounts to a happy conversation that could not have been carried out if we were not there. We could have sent a card, and the card could have had many more words on it than we had a chance to speak. But the card would have expressed not more meaning but less than we expressed by being there.