Showing posts with label literature. Show all posts
Showing posts with label literature. Show all posts

15 April 2009

Wes Anderson & His Influences

Great five part article about Wes Anderson's work and the diverse set of artists who have informed and inspired his own creations. Check it out below.

The Substance of Style-Wes Anderson: "Detractors say Anderson’s dense production design (courtesy of regular collaborator David Wasco) overwhelms his stories and characters. This complaint presumes that in real life our grooming and style choices aren’t a kind of uniform—visual shorthand for who we are or who we want others to think we are. This is a key strength of both Anderson and Salinger’s work. Both artists have a knack for what might be called “material synecdoche”—showcasing objects, locations, or articles of clothing that define whole personalities, relationships, or conflicts."

13 April 2009

Jaw Dropping

Dali + Cervantes in one beautiful, classic tome? I *must* find this volume! The Illustrated Modern Library Don Quixote De La Mancha

03 November 2008

Presidential Reading Materials

Essay - How to Read Like a President - NYTimes.com

Absolutely *LOVE* all the Hemingway/For Whom the Bell Tolls chatter.

It looks like I ID a bit more with McCain's taste than Obama's when it comes to literature.

20 October 2008

Federal Writer's Project Retrospective on NYT

Here is an old draft I'm finally publishing about a fascinating Depression-era government-backed project for writers and artists.

Going Down the Road - Interactive Feature - NYTimes.com

13 May 2008

A Literary Examination of the Conscience

I just finished reading Down and Out in Paris and London, George Orwell's first published novel, based not in small part on the author's own experiences. Orwell's prose was riveting, and (disturbingly) felt very fresh--I can easily see some young upstart writer publishing this today as investigative journalism, with companion clips on YouTube. If you can stomach this sort of writing (think borderline The Jungle by Upton Sinclair), then I highly recommend you track this brief novel down and devour it.

For lack of energy, I'd just like to share a few passages that particularly spoke to me (the pages are now nice and dog-eared):

I think one should start by saying that a plongeur is one of the slaves of the modern world. Not that there is any need to whine over him, for he is better off than many manual workers, but still, he is no freer than if he were bought and sold. His work is servile and without art; he is paid just enough to keep him alive; his only holiday is the sack. He is cut off from marriage, or, if he marries, his wife must work too. Except by a lucky chance, he has no escape from his life, save into prison. At this moment there are men with university degrees scrubbing dishes in Paris for ten or fifteen hours a day. One cannot say that is is mere idleness on their part, for an idle man cannot be a plongeur; they have simply been trapped by a routine which makes thought impossible. If plongeurs thought at all, they would long ago have formed a union and gone on strike for better treatment. But they do not think, because they have no leisure for it; their life has made slaves of them.

He goes on, of course, in the wonderful essay form of debate in which Orwell excelled, arguing about how so much of this modern slavery is devoted to inefficient, wasteful work that merely serves to perpetuate the distribution of power. Orwell was, of course, quite the left leaning socialism during much of his time as a writer. These views in turn were shaped and altered by experiences in the Spanish Civil War (I'll be tackling Homage to Catalonia soon), but, at least at the time of this work, he was solidly on the left. So as his argument in this section moves on, he presents readers with an unsettling (but truthful) accusation:

Fear of the mob is a superstitious fear. It is based on the idea that there is some mysterious, fundamental difference between rich and poor... But in reality, there is no such difference. The mass of the rich and poor are differentiated by their incomes and nothing else, the average millionaire is only the average dishwasher, dressed in a new suit. Change places, and handy dandy, which is the justice, which is the thief? Everyone who has mixed on equal terms with the poor knows this quite well. But the trouble is that intelligent, cultivated people, the very people who might be expected to have liberal opinions, never do mix with the poor. For what do the majority of educated people know about poverty? ...From this ignorance, a superstitious fear of the mob results quite naturally. the educated man pictures a horde of submen, wanting only a day's liberty to loot his house, burn his books, and set him to work minding a machine or sweeping out a lavatory. 'Anything,' he thinks, 'any injustice, sooner than let that mob loose.' He does not see that there is no difference between the mass of rich and poor, there is no question of setting the mob loose. The mob is in fact, loose now, and -- in the shape of rich men -- is using its power to set up enormous treadmills of boredom, such as 'smart' hotels.

[The plogeurs, or menial dishwashers and cleaners, work in these smart hotels behind the scenes.]

Moving, powerful, thought provoking stuff--much more so if you place these passages within the full context of the book. I'll be the first to admit that, despite my best efforts, I know I still create a barrier between myself and most of the less privileged and down on their luck as I rush along with my life. People aren't necessarily seeking charity--a bit of genuine compassion and empathy goes a long way. Reading through this text was like listening to the stories of many of my friends who are able to bridge that divide better and more frequently than I, and at times I would be washed over by own experiences and moments of connection.

Check it out. Read it with an open mind and heart.

George Orwell: Wikipedia

05 September 2007

Literary Anniversary

Like everyone else today, I feel obligated to note that 9/5/07 marks the 50th anniversary of the original publication of Jack Kerouac's controversial On the Road. Much loved and much despised, the wanderer's breakthrough novel, typed on a near-continuous role of typesheet while Kerouac was agitated on benzedrine, continues to split the literary community today.

I myself choose to celebrate this milestone.

Slate: You Don't Know Jack

More Intelligent Life: On the Road at 50

"Whither goest thou, America, in thy shiny car in the night?" -JK, On the Road

18 February 2007

Rive Gauche

Why is so much of John Dos Passos' work out of print? Besides the USA Trilogy, time seems to have collected a thick coat of dust upon his legacy. Credit an obscure reference in Shteyngart about Dos Passos' Manhattan Transfer to send me scurrying to Wikipedia to discover more....

I've certainly heard of Dos Passos before, and I've been curious about his work, since he is a prominent member of the Lost Generation, but I never found time or higher cause to sit down and read. Besides Manhattan Transfer sounding absolutely right up my alley in terms of theme and subject, his works dazzle my curiousity for many other reasons besides. Consider his other trilogy, District of Columbia. I can't seem to discover anything about it, but it seems rather appropriate to my current locale. Then there's his use of various forms of media in the USA Trilogy --fake newspaper clippings, fictional realism, biography, etc--that smacks smartly of my own Ripples and Aftershocks. Intriguing. And a nice ego boost. Time to head off to the libary......

On a side note, the first leg of The Russian Debutante's Handbook sparkles with amazing wit, sarcasm, and the perfect dose of irony. Shteyngart skewers the modern hipster intellecutal elite with just a gentle, completely deserved, and accurate critique. After much cajoling from many friends, Absurdistan will surely follow shortly in my reading list.