Monday, May 20, 2013

The problem with postmodernism . . .


The problem with post-modernism is that we no longer concern ourselves with the essence of things.  Study and reflection have become mind-numbing necropsy: we dissect the artifice exposing not the bones of the work, but rather the skeleton of the artist.  It is a kind of disappearing act in which the work—the thing itself—no longer exists in and of itself but exists only in relation to its creator. And, of course, the post-modern artist/creator intends it this way—in fact not only participates in the disappearing act but conjures the trick. To use a hackneyed phrase, the work no longer "stands on its own."

It is a strange irony that in the absence of god, we speak at length of "the creator" in our art, music and literature. While we have become experts at storytelling on film and the small screen, in art and literature we shun the story and long only to find/know the creator.


Morgan Meis at The Smart Set

Monday, August 8, 2011

Nostalgia: Dungeons and Dragons

I never was much of a gamer as I was way too cool (when not crunching math equations or participating in high school plays) doing my best to die in road races involving lots of alcohol and me getting the wrong side of the road (thank you JS), but most of my close friends were gamers, of the D&D variety, so here's to you—a super sweet song Tonight by Allie Goertz.




PS. Happy B-day sister golden hair; some day I'll figure out how to imbed songs.

Saturday, August 6, 2011

I want to go on a driving trip!


Because it is summer, I want to go on a driving trip.  As I write, I am faced with a "it once again sucks to be a girl" moral dilemma:  how appropriate would it be for me to fly to visit my sister and then join a close, but male, long-time old friend and his two children on a 25+ hour trip while (my) charming husband and children remain blissfully at home (completely and quite adamantly uninterested in road trips) and while (his) lovely wife (ditto) joins him once he arrives at their destination (the city I live in) by plane?

There is almost nothing more that I want to do than go on a driving trip.  In fact, one of the things I most want to be "when I grow up" is a race car driver.

This, in fact, has been my secret little dream ever since I can remember.  As a kid I used to beg for the middle seat in the back of the family cars—the 1969 Pontiac Parisienne, the Dodge Charger with its all powerful 383 stroker engine  (both eventually passed down to me), or, later, the Ford LTD—just so that I could lean forward hanging over the front seat (sans seat belt in those days, of course) and "drive" with my dad.  Football (another story) and driving were a bond we shared that connected us in a way that I forever treasure.  Invariably, on our frequent road trips, my mom would fall asleep within the first 500 yards of departing the house. 

I must have spent some time interacting with my sisters who sat on either side of me, but I honestly can't remember them being there (so I'm pretty sure they slept a good deal of the time too).  Road trips were frequent as my dad was continually on the move posted to various bases across North America.  Each summer we traveled from wherever we lived to my mom's home town in southern Ontario to visit relatives.  I dreaded the destination (as I suspected so too did my dad), but the trip, often across the entire continent, was "all".

Watching my dad drive was a two-fold operation. First, I felt strangely obligated (even as a very young child) not to fall asleep.  I believed with my entire being that it was essential that 'someone' stay awake and keep my dad company and, more importantly, someone ensure that he not fall asleep at the wheel.  Though never asked to do so, I viewed this a serious and necessary role for the survival of the family. [In retrospect I realize I was an incredibly weird kid; I also felt it necessary, even as a very young child, to stay awake until all hours of the night ensuring that everyone else was safely home and asleep before I allowed myself a few fleeting hours of rest—somehow equating my watchfulness (again) as a essential key to the safety of the family]. Second, I was fascinated by cars and the whole process of driving. 

As a fighter pilot, my dad was an excellent and aggressive driver.  He was at home behind the wheel in a way that I too, as an adult, feel truly at home.  A military man in posture and bearing, it was the only time I have seen him completely relaxed—his body taken over by a James Dean kind of cool, right-wrist casually draped over the wheel at twelve o'clock, and left arm resting against the window frame fingers either tapping a tune only he heard or, in the early days, seductively ashing the end of his cigarette. [To this day when purchasing a car (or even renting one), it is imperative to me that the window frame be just the right height allowing one's arm to "rest" on its ledge without strain/effort.] 

What I loved most (aside from having my dad captive to myself) was the thrill of passing.  My dad was an expert judge of distance and, though loving to "cut it close," his eye was so accurate that he neither panicked at the sight of oncoming traffic nor unduly "worried" or "cut off" the car he was passing.

During these trips he taught me a good deal about how to think logically and calmly pointing out the width of the road versus the width of a standard car or truck (always assuring me that in even the tightest of situations three vehicles could easily squeeze by one another if no one panicked) and he forever implored me to recognize, as he called them, "the outs."  These road trips were on going defensive driving lessons, lessons in which shoulders were continually assessed for their relative softness and drive-ability (it being important to be able to judge at what speed one could safely hit the shoulder in the event of a required diversion) and forests were scanned for the tell-tale yellow of a deer's eyes (all deer seemingly intent, in my dad's mind, on suicidally jumping in front of our car).  Hours flew by and maps were poured over endlessly, not so much to find directions, but to track our progress, plot refueling stops, and find that elusive "good" motel (always just a few more miles down the road).  Most days my dad drove 10-12 hours, seemingly immune to either exhaustion or boredom. 

It was essential to retain one's speed and, in fact, to speed  (hon, you can always drive 8-9 miles over the speed limit and be "safe"), and I could clearly read the speedometer and see that that 8-9 miles over often crept to 18-20.  Slow drivers were "unsafe" drivers—tentative and scared—unable to react quickly enough to potentially dangerous situations.

It seemed as though we really never talked about anything other then driving and, yet, somehow, those talks conveyed life lessons in some unspoken way. 

Tuesday, August 2, 2011

Eagerly Anticipated Films

Andrew Niccol‘s In Time opens late October and I think it is going to be a sleeper.  I love this idea and, I hate to admit it but, Timberlake is starting to grow on me.





Despite the fact that it seems too corny for words, I can't wait to see Like Crazy.  Seth Freilich at Pajiba provides an enticing review. It too is set for a late October release.




On a sour note, I am so disappointed reading reviews of Cowboys and Aliens that I think I shall just have to stop reading and go see the film myself.  I am having a hard time believing that Favreau may have failed, but maybe the sci-fi-/western marriage is just too good to be true.

Friday, July 29, 2011

Good stuff to watch

Jim Meskimen performs Clarence's speech from William Shakespeare's Richard III as a number of different celebrities.  This is pretty fabulous.


Monday, July 25, 2011

Things to do and stuff to see

In a couple of weeks I get to visit my sister in Toronto and I am excited as all get out about both seeing her and the Abstract Expressionist Exhibit currently running at the AGO.  This is the first-time ever that so many works have been collected together and traveled  from the MOMA for an exhibit.

I am especially looking forward to the show, because it seems as though every time I am in New York it is just my luck that the MOMA is closed for renovations, or some such annoying thing. In addition to Gorky's Garden in Sochi (above), the collection is 100+ works strong, including de Kooning, Kline, Pollack, Motherwell, and Krasner, among others.  The exhibit runs until  September 4th.


Speaking of art, this summer I have been leisurely browsing through Linda McCartney's Sixties: Portrait of an Era. This is a can't miss coffee table book not only for the exquisite quality of the photographs but for McCartney's playful eye cleverly documenting the decade.

I especially love this picture of Paul, Stella and James

 

The Grateful Dead


Saturday, July 23, 2011

Heartachingly Good Stuff to Read

Arghhh! So it occurs to me that maybe this is not the kind of commitment I am good at—this blogging thing.

Things to see:  Griff the Invisible (an Australian film)— I love both this corny trailer and the plug/review by Richard Lawson (super brief; 2 paragraphs) at  Gawker. Film release: August 2011.



Thing to read:
Recently I have been reading the collected works of Dorothy Parker

 
in a lovely hard back edition (not the link above) loaned to me by a friend.  I have also just finished Booker Prize winning author Anne Enright's The Forgotten Waltz. Reading both of these works makes me realize how seldom I bother to pick up books by female authors.


I am not sure why this is (and secretly shudder to think that I might have some horrible V. S. Naipaul like bias) but do think that (sweeping  generalization this), predominately, for female authors (even the weighty ones like Parker and Enright) the only big question addressed is love. [There are notable exceptions:  two of my favourites—Margaret Atwood and Pat Barker—come immediately to mind, but, for the most part, I think, this is a truism.]

The love thing is addressed particularly well by both Parker and Enright.  Neither of their works cloying or overly-sentimental, and both leaving me heart achingly in awe. Parker's bare prose speaks to me in a way that a female author has not for a very long time and exposes my "it sucks to be a girl whining" for its triteness and for the safe and comfortable place from which it comes.  Her stories and poems (self-aware and post-modern before their time) are permeated by her sad-funny delivery—that delivery aching in its non-pitying loneliness.  One is left profoundly struck by all Parker had to give up in the decidedly male world of the 1920s to be true to herself and to write in such a raw and naked fashion.  [Anthony Weiner be damned; Parker's is the true naked picture—one she willing sends to the world, craving both fame and absolution.]

I hesitate to recommend The Forgotten Waltz because it is a gut-wrenching and haunting read—cold and clear—not always comfortable to observe. Its narrator, Gina, is flawed, self-involved, judgmental, and often unlovable, yet painstakingly honest, clear-sighted, broken, alone and full of longing.  It is a train wreck of a story, one from which I was unable to turn my gaze from the impending, incontrovertible full-on collision to which it hurls.   Her desire is infused with grief from the very moment she sets eyes upon her future lover, Sean.  Throughout this adulteress-confession of a story, this first scene is written and rewritten by Gina—a scene in which the promise of grief is as inevitable as the consummation of their forbidden love.


When you need a break from all this heartache, read David Thorne's The Internet is a Playground: Irreverent Correspondence of an Online Genius  This is a book that only an Australian could have gotten away with:  cocky, cheeky and very funny in a laugh aloud way or visit his website 27b/6 for excerpts.