Monthly Archives: February 2005

(3.7.05 issue) Freak power

Louis Menand on Hunter S. Thompson:

There is a lot of edge in the Thompson style, and this gets him compared with people like Lenny Bruce and H. L. Mencken, indignant savagers of bourgeois self-satisfaction. He also seems, by virtue of the “outlaw” accoutrements, to belong to the tradition in American writing that includes William Burroughs, Jack Kerouac, and Henry Miller. But his true model and hero was F. Scott Fitzgerald. He used to type out pages from “The Great Gatsby,” just to get the feeling, he said, of what it was like to write that way, and Fitzgerald’s novel was continually on his mind while he was working on “Fear and Loathing in Las Vegas,” which was published, after a prolonged and agonizing compositional nightmare, in 1972. That book was supposed to be called “The Death of the American Dream,” a portentous age-of-Aquarius cliché that won Thompson a nice advance but that he naturally came to consider, as he sat wretchedly before his typewriter night after night, a millstone around his neck. Still, it pleased him to remember that Fitzgerald had once thought of calling “Gatsby” “The Death of the Red White and Blue.”

Believer [New Yorker]
GBT’s FAQs [story of Uncle Duke, Doonesbury@Slate]
The Hunter S. Thompson interview [Freezerbox]
Hunter Thompson’s Political Genius [The Nation]
The Motorcycle Gangs: Losers and Outsiders [Thompson in The Nation, 1965]

Not born to lose

Morgan Freeman and Jamie Foxx are no martyrs. After all, they’re rich and famous, and they just won Oscars for their acting in movies that indicate that everything has not been as it should for black people in America. Still, the recent triumphs for African-Americans in the industry bring to mind Murray Kempton’s remark in his great essay “The Dry Bones”: “For it is not the least of a martyr’s scourges to be canonized by the persons who burned him.”

Technically, Hilary Swank speaks almost throughout Million Dollar Baby, but most of her performance involves jabbing and sweating. That’s all right; as long as we’re righting balances, we might as well study and enjoy women hitting each other in the face, as movies have permitted us to do with men for a century. Or, in the correct idiom, let women join in the liquid ballet of clenched fist and breath that is boxing at its best. A report from a Houston gym that gladly trains women:

On appearances, the gym is no place for a lady. But if a woman can go to war, fly a jet or run an international corporation, she can also throw—and take—a punch. So the boxing gym has been forced, grudgingly, to adapt. “What she (Swank) went through was very believable, very accurate,” [promising female boxer Akondaye] Fountain contends. “The men not wanting to train her, giving her a hard time, not respecting her boxing skills, that’s what we get a lot of.”

Fountain hopes to land five fights this year, maybe the last one for a championship. Her aspirations are no different from those of the 21-year-old sensation Diaz or any of the other men around her at the gym. When Freeman’s Scrap Iron speaks in Million Dollar Baby about why fighters fight, his words cut straight to Akondaye’s heart.

“If there’s magic in boxing,” he says, “it’s the magic of fighting battles beyond endurance, beyond cracked ribs, ruptured kidneys and detached retinas. It’s the magic of risking everything for a dream that nobody sees but you.”

It often does seem to require a fierce grandmother, a relentless opponent, or a more abstract shock to teach us to stand up straight, shoulders back, and act like we have some sense; to assume inclusion and demand respect. Too bad everyone can’t just take that for granted.

The Aviator, Million Dollar Baby, Hotel Rwanda [New Yorker]
Ray and Birth [New Yorker]
Eternal Sunshine of the Spotless Mind [New Yorker]
Majority of Americans Already Know Jamie Foxx’s Oscar Speech by Heart [Borowitz Report]
Blacks in American Film [African Americans]
Female pugilists battle as much for respect and acceptance as they do for titles [Houston Chronicle]
Introducing ‘Dirty Harry,’ via Video Game, to a New Generation [NY Times]
Hertzberg gets the Kempton Treatment [Decembrist]

Bring on the lovers, liars, and clowns

A reformed Jeff Gannon covers the Oscars:

—Go ahead, Jeff.
—Mr. Eastwood, how do you think your film has influenced the debate on assisted suicide? Has the Hemlock Society endorsed it? Any plans to join?

—Jeff, question?
—Mr. Rock, did you keep your word and bring a pound of weed to make the ceremony more watchable? Can we take that to mean you think marijuana should be legalized? Did you indeed relax beforehand by “doing a little cocaine, chopping up some E”? And do you have any for the press?

—All right, one more…Jeff.
—Mr. Pierson, as president of the Academy, do you think any of the films about genocide, abortion, a drug courier, or ABC’s close friend McDonald’s have a Slurpee’s chance in Savannah of winning any major awards? OK, what about Kate Winslet? Could we at least have Kate Winslet?

Tragedy tomorrow, comedy tonight!

One Billion [New Yorker]
Comedy Tonight [Gunther Anderson]
Farewell to Hemlock—Killed by Its Name [Assisted Suicide]
Rock Smashes Crystal [Terminal City]
Disney: Mouse or Multinational? [XRoads]
Eternal Sunshine of the Spotless Mind [Discover Kate]

RSVP

I plan to attend as many of these events as I can. From the New Yorker website (the links are mine):

The New Yorker Cartoon Tour
Whether the subject is love, politics, business, or talking dogs, New Yorker cartoons are always the bottom line in humor—and the first thing readers turn to each week. The New Yorker celebrates its eightieth anniversary with a travelling exhibition of memorable cartoons inked by notable cartoonists from the past eight decades.
March 7-12
New York, N.Y.
Cooper Classics Collection
137 Perry Street
212-929-3909

Joyce Carol Oates
The author reads from a selection of her work, and talks with Leonard Lopate. Tickets, which cost ten dollars, are required for admission.
March 15, 7 p.m.
Flushing, N.Y.
Queens College
65-30 Kissena Blvd.
718-997-4646
www.qc.edu/readings

Ian Buruma and Louis Menand
The authors participate in a discussion moderated by Leonard Lopate. Tickets, which cost ten dollars, are required for admission.
March 22, 7 p.m.
Flushing, N.Y.
Queens College
65-30 Kissena Blvd.
718-997-4646
www.qc.edu/readings

Victoria Roberts and others
Speaking April 6 in Manhattan; more details TK.

A Roundtable on the Art of Writing
The writers Edward Hirsch, Richard Howard, and Adam Zagajewski, whose poetry has appeared in The New Yorker, participate in a roundtable discussion. Tickets, which cost ten dollars, are required for admission.
April 21, 7 p.m.
Flushing, N.Y.
Queens College
65-30 Kissena Blvd.
718-997-4646
www.qc.edu/readings

And ending soon, from the Saul Steinberg Foundation site:

Steinberg at The New Yorker: Exhibition to feature over 50 pivotal works from the artist’s career
Pace Wildenstein, 32 East 57th St., (212) 582-4868
February 11 through March 5

Beginning in 1941, Steinberg produced 90 covers and more than 1,200 drawings for The New Yorker. Steinberg at The New Yorker, organized in conjunction with The Saul Steinberg Foundation, features many significant works completed over a career of nearly six decades, including View of the World from 9th Avenue (1975), Looking East (1986), and The Dream of E (1961). The exhibition will also include the first public showing of The Line, from the 1950s, Steinberg’s signature conception of a continuous line that redefines itself as it moves across the page. Issuing from the artist’s pen, it quickly becomes a ground line for architecture, a clothesline, railroad tracks, and on and on until, more than 30 feet later, it is restored to the hand holding the pen. Steinberg at The New Yorker coincides with the publication of Joel Smith’s Steinberg at The New Yorker, with an introduction by Ian Frazier (Abrams).

Update: The NY Post‘s James Gardner says:

Saul Steinberg – Three stars
For decades, Saul Steinberg was the New Yorker magazine to many. In addition to being one of their wittiest cartoonists, he was a gifted artist whose chosen media were ironically austere line-drawings, a la Paul Klee, that on occasion yielded to the luxury of gouache. Steinberg claimed to be a writer who happened to draw, an assessment borne out by the almost script-like fluency of his unrelenting lines. But he could just as readily have declared that he was a musician who drew, for his pen and ink drawings suggest musical notes on a staff. In any event, this show has an extensive sampling of his work, including every cover of the New Yorker that he designed.

Well, all right, as Buddy Holly would say. I’m there. Steinberg’s majestic NO and his paper-bag masks in Inge Morath’s photographs are two of my favorite things to look at in the world. But who will be my plus-one? It could be you, reader of emdashes. Email me at emdashes at gmail dot com and come along for the ride. All your remarks will be attributed either to “my companion,” “the verificationist,” or “the seal in the bedroom.” Let’s go, New York!

Please let me know if you hear of any other happenings in the magazine’s orbit (as you should know by now, I define that rather broadly). And, of course, anyone who goes to one of the non-NYC events listed online (and there are several, updated weekly) should certainly write in with a report.

See you over the weekend, when I will be posting. Neither snow, nor rain, nor heat, nor gloom of night stays this coder from the swift accretion of her appointed links.

Events: The New Yorker near you [New Yorker, online only]
Life and Work [The Saul Steinberg Foundation]
Art Attack [NY Post]

A reversal of fortune, and fortunate reversals

Now here’s a man with a good project:

Several months ago, I decided to read every issue of The New Yorker in search of chiastic observations and insights. This project will take many years to complete, but what an exhilarating time I’ve had already! I’m getting a whole new education, as I read articles I would’ve never glanced at before. Some wise person, whose name I can’t recall, once said that when you study one thing deeply, you tap into a vein of knowledge that extends infinitely beyond your original scope of interest. That has happened again and again over the past ten years, and will surely continue as my quest continues. As I find chiastic quotes in The New Yorker, I’ll post them here.

I didn’t know the word either (it’s pronounced ky-AZ-mus), but we all know the trick: a reversal in the order of words in two otherwise parallel phrases, as in this one by Malcolm Gladwell (on Herta Herzog): “She wouldn’t ask about hair-color products in order to find out about you…she would ask about you in order to learn out about hair-color products.” Ah, I see! It stands to reason that all such phrases would be collected on one website, and indeed many are. This is the gift of psychologist and word sleuth Dr. Mardy Grothe, whose mission (according to his bio) is to bring the yin-yangy word

out of the closet of obscurity and into the world of popular usage. If there’s a precedent for what he’s trying to do, it’s oxymoron, a once-obscure word that is now known by almost all literate English speakers. Grothe stumbled upon the word chiasmus nearly ten years ago and has spent the greater part of the past decade in the grip of this fascinating literary and rhetorical device.

Gripped by a device for devising quips, Grothe discovered lethal pits in pithy ledes by James Atlas, Nancy Franklin, Joe Klein, Jane Kramer, Daphne Merkin, Robert Reich, Jeffrey Rosen, Alex Ross, Andrew Solomon, and more. He wants us to send more in to him, and to refrain would indicate a want of sense. Say it along with me once more: ky-AZ-mus. We learn to blog, we blog to learn.

Chiasmus in The New Yorker [Chiasmus]
Oxymorons [Oxymorons]

(2.28.05 issue) But dear

Perfect take on the old “I say it’s spinach, and I say the hell with it” cartoon by Danny Shanahan this week (on p. 67 within Jonathan Lethem’s hypnotic musical history, about which more TK). The resourceful etymologist and New York historian Barry Popik may well have tracked down the source for the original Carl Rose cartoon, which ran on December 8, 1928 (the text is by E. B. White). From Mary MacFadden’s memoir, Dumbbells and Carrot Strips: The Story of Bernarr MacFadden (Holt, 1953):

Her name was Nanette Kutner. She had come to our carrot castle with her parents. She was never to forget the experience although she was not ten years old. She was thin but wiry, with inquisitive dark eyes that took in everything…. Her spinach and carrots always disappeared from her plate as if by magic. I knew she despised the stuff. While the boarders at the tables stowed it away in their stomachs she dumped it, by some sleight-of-hand, into a big reticule in which she carried reading matter. Later, sometimes in the middle of the night, in her bare feet, she got out of the house quietly and cast the food of health into the ocean. She is supposed to have been the originator of the phrase, “It’s spinach, and the hell with it!” A cartoonist for The New Yorker was to make it famous.

The new-style kid doesn’t have to worry about either evil green, as it turns out. According to no less an authority than Parents magazine:

Lots of kids shun vegetables and still do just fine…. Strawberries or oranges can stand in for spinach to help meet folic acid needs. Bananas are a good alternative to potatoes as a source of potassium, and citrus fruits can substitute for broccoli to cover vitamin C requirements. “But even if your child doesn’t routinely eat vegetables, it’s important to continue to offer them,” says [dietician Jo Ann Hattner]. “Veggies are packed with not only important vitamins and minerals but also health-promoting phytochemicals. Eventually, he’ll come to accept them.”

The Shanahan-drawing family might have something to say about that.

“It’s broccoli, dear…” [New Yorker, Cartoon Bank]
“I say it’s spinach, and I say the hell with it.” [Big Apple]
Mary Williamson McFadden [Riverflow]
Quite a Healthy Sum: Secret Caches of the Health Messiah [Lost Treasure]
10 Facts You Must Know About Feeding Your Kids [Parents]

Tangled Web

E.B. White, who once suggested February be abolished, would have been glad this one’s almost over. In a springier time, he wrote:

NATURAL HISTORY
(A Letter to Katharine, from the King Edward Hotel, Toronto)

The spider, dropping down from twig,
Unwinds a thread of her devising:
A thin, premeditated rig
To use in rising.

And all the journey down through space
In cool descent, and loyal-hearted,
She builds a ladder to the place
From which she started.

Thus I, gone forth, as spiders do,
In spider’s web a truth discerning,
Attach one silken strand to you
For my returning.

My returning! Yes, it’s time for the inevitable live-action Charlotte’s Web. With any luck, it’ll be an improvement on the sweetish but jarringly musical 2001 animated version. As Moviehole reports:

“Charlotte’s Web” is filming right here in overcast—how quickly the weather changes in the city by the bay—Melbourne, and one of the paid aid contacted us to let us know who—besides the all star voice cast—will be joining Dakota Fanning in front of the Panavision wide-lens.

Siobhan Fallon Hogan, who played Stanley’s mother in the recent “Holes”, has been enlisted to play Mrs Zuckerman, the ‘butter milk bathing’ farm-wife. As has Kevin Anderson (“Sleeping with the Enemy”), Gary Basaraba who played officer Ray Hechler in “Boomtown”, Essie Davis (“The Matrix Revolutions”), and young actor Nate Mooney (“Elizabethtown”).

As previously announced, the all-star voice cast includes Julia Roberts as spider Charlotte, Oprah Winfrey as goose Gussy, John Cleese as Samuel the sheep, Steve Buscemi as sneaky rat Templeton, Reba McEntire and Kathy Bates as cows Betsy and Bitsy, and Outkast hip-hopper Andre 3000 as crow Elwyn.

Also in the cast: Cedric the Entertainer, Thomas Haden Church, and Andre Benjamin. Of course the versatile Bates has to be the cows, even without appearing live (does anyone even remember Betsy and Bitsy from the book?). And let’s get back to “crow Elwyn.” Tell me again why crows have to be characterized as shucking black fools? This is getting old—really old. From Wikipedia on the otherwise top-notch Dumbo (1941):

The crow characters in the film are in fact African-American caricatures; the leader crow voiced by Caucasian Cliff Edwards is officially named “Jim Crow.” The other crows are voiced by African-American actors, all members of the Hall Johnson Choir. Though Dumbo is often criticized for the inclusion of the black crows, it is notable that they are the only truly sympathetic characters in the film outside of Dumbo, his mother and Timothy. They apologize for picking on the elephant, and they are in fact the ones that help Timothy teach Dumbo to fly. The roustabout scene which features African American laborers largely in shadow and singing a working song that many find offensive has drawn similar complaints.

There are a lot of reasons to stop generating these tired and creatively limiting stereotypes (cast Bates as a crow. Cast Andre 3000 as a cow. These are voices we’re talking about here!), and I suspect White would have found eloquent ones. All the media have a responsibility to prevent yet another generation of children from believing African-Americans are only good for crude entertainment. As Charlotte says to Wilbur, “People believe almost anything they see in print”—or, for enough of us, see onscreen.

Who’s playing the live-action parts in Charlotte’s Web? [Moviehole]
Reversal of Roles: Subversion and Reaffirmation of Racial Stereotypes in Dumbo and The Jungle Book
[Alex Wainer, Ferris State University]
The New Black Animated Images of 1946: Black Characters and Social Commentary in Animated Cartoons [Journal of Popular Film and Television]
Two Black Crows [Banned Films]
Reel Bad Arabs [Third Way]

Instead-Of-Song

More news from Shawnland:

Alan Cumming will play the notoriously dashing Mack the Knife opposite Edie Falco and pop singer Nellie McKay in the forthcoming Wallace Shawn adaptation of The Threepenny Opera set for Broadway’s Studio 54 next season.

Scott Elliott (Hurlyburly, The Women) will direct the Roundabout Theatre Company commission which will begin performances in Spring 2006, according to a Roundabout spokesperson.

Shawn (Aunt Dan and Lemon) translates and adapts the original German book and lyrics of Bertolt Brecht and Kurt Weill’s classic musical Die Dreigroschenoper. Set in London in the 1800s, The Threepenny Opera concerns a notorious bandit who marries a girl, much to the chagrin of her father. The peeved patriarch does everything in his power to imprison his son-in-law in this political and social satire.

This looks great. I’ve seen two notable performances of Threepenny, one starring Sting in his naked-photos-in-the-rainforest days (good days), and one featuring film and stage star Lance Baker, a.k.a. my high school boyfriend. The latter was very good. The former was about as bad as a revival can be, though Sting looked great swinging through the cages onstage.

Remember, always, that it could be worse: Since last fall, there have been awful reports that Lance Bass is producing a new version of The Great Gatsby with Chris Carmack as James Gatz and, uh, Paris Hilton as Daisy. What, the young Robert Redford and Mia Farrow weren’t classy enough for you? Fitzgerald drank at—and was once banned from—the Seelbach Hilton Louisville; he later set Tom and Daisy’s, I mean Chris and Paris’s, wedding in the ballroom, so the Gatsby-Hilton association is deep. At least something is.

Mack’s Back in Town [Playbill]
The 50 Coolest Things About Louisville (besides the Derby) [Velocity]
Five Best: Hotels from novels [London Independent]
Paris Hilton: Is she the girl you love to hate or hate to love? [Rolling Stone]

How we are hungry

Onion, tell it like it is:

Woman Dozing at Coffee Shop Has That Dave Eggers Sex Dream Again

IOWA CITY, IA—Freshly jolted awake from a peach-tea-induced nap, Sumatra Café patron Laurie Dubar said she had that same sex dream about bestselling author Dave Eggers. “I’m lying on the couch naked, and Dave is next to me, also naked, reading Salon on his laptop,” said Dubar, a 34-year-old Iowa Writers’ Workshop instructor. “Suddenly, he turns to me and says, ‘Could you help me edit a collection of short fiction?’ and I can’t control myself any longer.” Dubar said she always wakes up just as Sarah Vowell walks in wearing a kimono.

But Dave (may I call you Dave? I brushed your nubbly sweater once at Galapagos but I was too shy to speak, though I did write an op-ed about that night) is far away in San Francisco, plus married, and all we can do is try on shoes in our sleep at the store and keep dreaming. Childishly jealous no more, we yearn only to be one with it all. At a sane and respectful distance, we’re still here.

Woman Dozing at Coffee Shop Has That Dave Eggers Sex Dream Again [Onion]
Around the World in a Week [Eggers interview, New Yorker]
Dave Eggers on waiting for the right time… [Kottke]
You Shall Know Our Velocity [Book Club, Slate]
Sleep [McSweeney’s]
Letters of Affection [Miss Abigail]

Put out more flags

From Calvin Tomkins’ March 29, 2004, profile of Christo and Jeanne-Claude:

At a lecture at the Pratt Institute in 1980, when someone asked why they refused to consider situating “The Gates” in an alternate location, [Jeanne-Claude] answered, “Sir, did you marry the woman you loved, or an alternate woman?” At the Bloomberg press conference last January, when a reporter pressed her to give a cost figure for “The Gates,” she told him, “Go and ask your mother if she could give an estimate for the cost of raising you.”

About Saffron [Greek Products]
The Gate [Belle & Sebastian, via NoMoreLyrics]
The Gates Christo drapes [Ask a New Yorker a Question]