Saturday, February 25, 2006

Why Was Edvard Munch so Morbid?


One looks at a reprint of Munch's most famous painting The Scream and then regards the subtler, more somber depressions of this painter's angst soaked paintings, such Girls On the Jetty, and wonder why he was such a glum Gus. The reason is more practical and less mysterious than some of our more mystical critics would insist.He was good at it. With all the impressionist swellings, swirling clouds, jaggedly mad crows, blurred lines and obscured faces moving about his canvases under the darkest, deepest shades and tones he could manage, what Munch saw in the world wasn't nice formations in pleasing shapes and arrangements, but rather as a thin film of appearance under which each and everyone of his dark moods and skewed perception pulsed, ached and persistently throbbed. Munch and his allies did a rather nice job of freeing the artist from having to make pretty pictures for dentist offices. Not that it was a bad mood alone that motivated his brush strokes. The desire to depict reality in a different way, to find a truth that hadn't yet been brought forward, is a permanent impulse among artists who are the least bit figurative, and Munch's penchant for gloom and depressed spaces were a perfect inspiration, it that's the word, to take the image of the world apart, tweak the essential elements, and reassemble it, askew, fuzzy, angular. Munch's genius was also his pathology, and the crazed energy in his head which drove him to relentless distraction was additionally his ugly gift to the world. It still commands our attention generations later.

Tuesday, February 21, 2006

Jay McInerney, Dozing Fat Boy

Jay McInerney, Brat Pack novelist, Manhattanite extraordinaire and famed party goer, got the urge to step up to the plate and write a Great American Novel, a work that would raise him finally from the middle rungs of the literary ladder and allow him to reach the top shelf where only the best scribes--Hemingway! Fitzgerald! Thomas Wolfe!-- sit and cast their long collective shadow over the fields of aspiring geniuses, furious scribblers all. McInerney has selected a large subject with which to make his reputation, the catastrope that was and remains 9/11. Acutely aware that the minor league satires and soft coming of age stories that made his name were less commanding than they had been because "9/11 changed everything" (a phrase destined to be the characterizing cliche of this age) he offers us The Good Life, a mixed bag of satiric thrusts, acute social observation, two dimensional characterizations
and wooden generalizations about the sagging state of society, of culture, of our ability to understand one another, locally and globally.

I agree that Jay McInerney is a better writer than he's been credit, but history will judge his novels as minor efforts at best. Witty and observant, yes he is, but the manner in which he conveys his best lines, his choicest bon mots have the thumbed-through feeling of a style borrowed. Fitzgerald, Capote and John Cheever are his heroes, true, but there's nothing in McInerney's writing that honors his influences with the achievement of a tone and personality that is entirely his own, an original knack of phrase making that makes a reader wonder aloud how such wonderful combinations of words are possible. His influences, alas, are visible and seem to be peering over his shoulder. Even what one would praise as sharp and elegant observations from his keyboard creaks not a little. The style sounds borrowed, and our author sounds much, much too dainty to make it really cling to the memory:

"The hairstylist was aiming a huge blow-dryer at his wife's skull, which was somewhat disconcertingly exposed and pink--memento mori--in the jet of hot air ... "

"He developed an interest in the arts as well as a taste for luxury and was never hence quite able to make the distinction between the two, so that his ambitions oscillated between the poles of creation and connoisseurship."

McInerney is compared to Fitzgerald relentlessly since his career as a professional writer began, in so much he, like F.Scott, was bearing witness to a generation of conspicuous consumption and waste, but one notices that any random paragraph from The Great Gatsby
contains more melody by far. The writing genius of Fitzgerald, when he was writing at his absolute best,was his ability to make you forget the fact that you're reading elegant prose and have you become entranced by it. It was a means to put you in a different world altogether. It's this simple, really; you didn't see him writing, you didn't see him sweat. Able craftsman as well as peerless stylist when he was performing best, Fitzgerald's prose seemed natural, buoyant, unstrained. McInerney's writing reveals that strain, that slaving over phrase and clever remark,and often times the effect seems calculated.In his best moments, he rarely sheds the sophomore flash; after all these years our Manhattan golden boy still writes like the most gifted student in a Kansas City composition class. After all these years he is still trying to outrace the long shadows of those who brought him reading pleasure.

Sunday, February 19, 2006

Three Irksome Phrases

What irks me without fail are people who ought to know better saying "uncomfortability" when they mean "discomfort". It seems that some folks think that an excess of syllables, even to the extent of using words that don't exist in nature, makes an expression of commonplace ideas and feelings sound more subtle, nuanced, educated.These are words for people who don't know what they want to say, let alone how to talk about it.

Likewise, the use of the world "potentiality" needs to be banned by law, punishable by cruel mocking in the public square. There is no advantage of using that ungainly pile-up that the shorter, unambiguous and more efficient "potential" can't get across clearer and faster.
------------------------------------------------
A couple of co workers are found of announcing that they're going "on lunch", a phrase that sounds as phony baloney as it gets. I realize it may be a regionalism , but here in San Diego the term grates the ear. Dude.
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Sorry to say, but there are still fields of self-help/recovery/New Age grope speak here in San Diego, and it's not unusual in the course of a day to hear someone describe a bad mood or other psychic malaise they have as being "being in a bad space." For me, a "bad space" is standing in front of moving traffic as it rushes towards you.

Related to this are folks who say that they need to take care of their own needs or else they "get to that place " where they become The Hulk. Funny , but I've never seen these "bad spaces" or dreaded "places" that make people become awful. Is there a map I can buy?

Tuesday, February 7, 2006

TV Makes Us Smarter?


All the McLuhan and Baudrillard fans who’ve spent their lives misconstruing both these thinkers’ circuitous thinking are cheering these days, as a current conceit circulating among some in cyber society has it that digital media, television in particular, has made us smarter than generations before. Smarter, more intelligent, more aware. Real people with fake lives watching TV shows full of fake people acting out real ones. Social anxiety disorder is a real condition, though we dispensed with the trend of making every discomfort a disease and just referred to sufferers as either existentially perplexed, or more simply, "neurotic".

Any good post-war philosopher knows the cure to the constant fretting and despair: GET A LIFE, or at least create one. In the current age, we begin with simply turning off the TV and getting a library card, for nothing makes you smarter as well has reading books , one page at a time, at pace where you're allowed, or rather compelled to develop sound thinking. TV has replaced the ability to abstract with the mere capacity to summarize, which is the difference between synthesizing information and formulating a solution to a problem under inspection, and the other merely a form of inventory taking, hardly more than putting everything in specimen jars, labeling them, and categorizing them in a method that renders the information inert, useless, and mere clutter. This is a time when citizens can know so much about so many things and yet understand absolutely none of it. Extreme, perhaps, but it feels that way as you make your way through phone conversations, exchanges at work, conversations in grocery stores and coffee houses and the bars where one might sit for awhile trying to regain their composure;  voices heated and voices calm citing this article, that website, that blog, this TV show as they sally forth with a world view that hasn’t changed much since they were a teenager. So much information absorbed for positively no effect. We fight wars and drop bombs for the old , ruined reasons dressed up with new terms and end notes. We are able to express the limits of what we perceive faster.

Real people with fake lives watching TV shows full of fake people acting out real ones. Social anxiety disorder is a real condition, though we dispensed with the trend of making every discomfort a disease and just referred to sufferers as either existentially perplexed, or more simply, "neurotic".Any good post-war philosopher knows the cure to the constant fretting and despair: GET A LIFE, or at least create one. In the current age, we begin with simply turning off the TV and getting a library card, for nothing makes you smarter as well has reading books , one page at a time, at pace where you're allowed, or rather compelled to develop sound thinking. TV has replaced the ability to abstract with the mere capacity to summarize, which is the difference between synthesizing information and formulating a solution to a problem under inspection, and the other merely a form of inventory taking, hardly more than putting everything in specimen jars, labeling them, and categorizing them in a method that renders the information inert, useless, and mere clutter.

Saturday, February 4, 2006

Metal Immersion: on listening to a neighbor's Metallica album over and over and over again


Let's tell the truth about these guys: metal has been boring as soggy granola for decades, but Metallica's music, unvarying as tract housing, has lowered the bar to the point that the band name is fated to become a synonym for torpor, ennui, skull-crushing lassitude .This steel tempered barrage is the audio equivalent of the hooked leather tassels some varieties of religious extremists flagellate themselves for sins they've yet to commit against their humorless god.How do you like your punishment?Faster, heavier, angrier, meaner, edgier? Sell your house, burn your car seats and cancel your dinner reservations because Metallica is going to chain to the wall of the first cave they come across where they intend to throw every hard note and quicksilver scale in their arsenal at you. That's what they wanted to be when they appeared so many distant days back when, but they got to the convention right as they concluding gavel was pounded and the other bands were either gearing up other musical approaches,or seeking other employment. They've always tried too hard , and have fairly much given off a corporate feel to their music. Let's compare them to a Ford Truck: BIG, LOUD, POWERFUL, and utterly characterless. Metallica has done little more than make the reigning cliches and tropes of metal louder, bigger, stupider. This is the music for those who cannot wait to have what dead registers of hearing they have left made erased like chalk drawings. Soon, the sound ceases to be what this band is about; it becomes the vibration, the rattling of the teeth, the spinning senses, the incipient nausea that follows a good pummeling. Listening to Metallica is the next best thing to an anxiety attack, and for many who crave this ceaseless noise, fast and beset with routine tempo shifts , ostinato screams of wounded and placeless rage and throat-cancer vocals , this is the closet they get in a week to feeling as if they have a life worth showing up for.I pity such folks, but there are limits, especially on a day I counted on sleeping in on the first day off in three weeks of being nice to cretins, simps and various other illiterates who want to argue their taste in stores where I work.They should vanish, go away, stop at once rather than continue the sluggish tragedy that is the sum of their continuing existence, as well as the unerasable fact of their loathsome, drooling legacy. After that, we take hammers to the cell phones

Tuesday, January 31, 2006

A Flightless Poem

It shouldn't shock anyone to say that David Tucker's "No Flights Until Morning" is an overwritten attempt to cram as much pathos into a relatively small setting where there is no convenient dynamic to move quicken the pace or make the more extreme poetic applications seem less glaring. This poem is a matter of trying to fit a size ten foot into a size seven shoe, and reading it was nothing less than watching the pained waddle of a customer denying the shortcomings of their high-heeled prize. There are choice details, yes, if one is inclined to excuse any sort of snap shot description of unhappy people in crowded places as examples of the author's generous heart.


The runways were covered by late afternoon,
nothing moved out there but the occasional noble
snow plow carrying on with a yellow grimace,
the big jets were barely visible like whale herds
sleeping off the blast. The concourses, so frantic
a few hours ago, were almost still, a few meanderers chatted on their cell phones and looked at watches.


There is nothing in these "humanizing" images that novelists John Cheever or John Updike haven't given us with more grace, sympathy, and with sense that the observed imperfections were leading to some greater effect.

Rhythm and musicality are especially strong in these prose writers as they achieve a graceful ribbon of circumstance and happenstance which brings character tic, facial expressions, commercial products into a focus as being telling elements of a whole world and gestalt from which a sadness or great comedy is about to unfold. In Cheever's masterful "Wapshot Chronicle" and "Wapshot Schandal" and Updike's wonderful quartet of "Rabbit" novels the wealth of details forms a world, a fictional space where tangible emotion and poetic effects
are achieved through equal amounts of economy and a tuned ear.

Tucker has the eye but not the ear, and like his glacially paced reading --did anyone else find themselves leaning into their speakers only to find themselves about to tip over anticipating his next laggardly utterance?-- and his poem turns into a drone. He had a scene that was worth a poem, but rather than find where the poem was among all those strange , private interactions he may or may not have seen from the corner of his eye, rather than select particular evocative scenes and link them somehow with some small, hidden yet quietly profound fact within themselves, he tries to contain the entire airport ,
and creates dead weight. We get the typical effect of someone who has written themselves into a corner and is forced to over reach to distinguish himself from the other scenes of nameless being:

I stayed quiet and thought of you;
checked my passport, read my ticket again, then again
like a spy with only a name to get me out,
a thousand miles from my life.


I find it incredible that in a moment when he is supposedly feeling vulnerable and less than dynamic because of his separation from his beloved "you" that he addresses his situation as analogous to that of a spy. Tucker here is valorizing his current despair and ennui and makes himself seem heroic because others are accepting and playing video games or raging at bemused counter help, he has the deeper wound of true loneliness. The poet as serial sufferer is loosed upon us, and you wonder what Tucker was going for other than to prove that he could out-mope a room full of the earnestly self-conscious

Sunday, January 15, 2006

James Frey: The Ring of Truth Sounds Like a Cash Register

So "A Million Little Pieces", the out standing memoir of the year, is a steaming pile of sub-Bukowski fiction? A fanciful re imagination of an ordinary drug and alcohol tale of woe and recovery? All sizzle, no steak? Sweet.It's been some nasty fun of late to see James Frey twist in the wind as his supposedly non-fiction account of his experience of a drug addict and his eventual recovery is revealed by the Smokinggun.com as being in large part not true. The usual hand wringing about ethics has commenced, but what is notably freaky in this case is the publisher and the book's number one promoter, Oprah, standing by his side, citing something greater and more important than Frey's lazy relationship to the truth. I don't see how anyone who has been caught passing off falsehoods as actual fact can be an inspiration to anyone. He is a fraud, in plain fact, and it's very weaselly of he, Random House and Oprah to stand by the book by claiming that the "essential truths" about the possibility of redemption mitigate the fiction Frey try to pass off as a true story.

Redemption is possible, I believe, but not in the case of an author who just outright lies about his unpleasant experience and how he persevered through grit and gumption a man has to self-mythologize to get across the idea that a person can rise above their problems and be restored to good character and
virtue, one needs to question the sincerity of the storyteller by simply asking why such a basically decent person would need to lie in the first place. One reason, of course, that his melodramatic accounts make for a better story, to which his supporters like Random House and the embarrassed Oprah would assert makes the message more powerful. More likely James Frey needed a sexier tale in order to get published by a major publisher and make A Million Little Pieces easier to hype, and easier to sell to Hollywood producers who need a property for some emerging pretty boy actor can do scene chewing Oscar turn in. It's about the money, and the message of struggle, despair, pain and the bald determination to rise above it all with superhuman amounts of will power no doubt inspire millions of readers who in turn might be like inspired to spend millions of dollars seeing a film.

Frey, Random House, Oprah and whoever might produce the film version of Frey's book can't afford to admit that the book is a fraud, a bit of slick huckertism no less odious than snake oil cures and bloodless surgery. One can imagine the conference calls that went on between all the concerned when maximum Damage Control was demanded. Like those who believe they see the Virgin Mary in a Baltimore Laundromat, or Elvis gorging himself on pancakes and sausage patties in a turnpike Howard Johnson, we have here the formation of a fervent belief system in a book's "essential truths" about the redemption of the self when, in fact, the only true thing that rings true in this matter is the cash register.

Saturday, January 7, 2006

the marriage of heaven and hell




gravity gives me wings
to soar over streets
where rumors are afoot,

my collars are white , starched,
worn backwards like
politics that say feed the rich,

virtue , morality, fair play
cannot be read from
the heights i soar,

although i see you
again on the phone
laughing like nothing was serious,

down the broad slope
of my nose you take a drink,
slight a cigarette,

turn on Mad TV
and slap a knee while
an ash falls on otherwise spotless carpets,

behold me, damn you, i am truth
in black robes and hard soles,
there is nothing to laugh at,

look at me, i am all virtue,
and i can wave my arms
like wings that bring me freedom

and a thirst you wouldn't believe.

Tuesday, January 3, 2006

TED BURKE, like it or not

Slate's first poem for 2006 , "Indwelling" by Teresa Cader, is in keeping with poetry editor Robert Pinsky's preference for offering up spikier, less concentrated poems for the readers. Even though I'm often critical of his selections, I hand it to him for forcing the interested readers to think a little harder when coping with what a poet is trying to say. It keeps the mold off. There is a bit of the Bible and not a little of Ginsberg's Howl [www.pangloss.com] in these long lines, as in the way each stanza offers us a repetitive though effectively rhythmic with the way each new thought begins with "In the..." The shroud of Whitman lingers as well. The technique can be powerful and it's very seductive, too say the least, but there the pitfall is that you lose sight of what you're trying to say as you try to top yourself with a fiery image that is more striking than the one you wrote before it.In the wind hissing beneath the door sweep,A tribe of mice squeezing through pocket doors,In the pants pockets where the evidence remains,Those filaments of wool in the moth-eaten rug,In the masquerade of motion that sets off the alarm,The alarm that arrives via airwaves at dinnertime,In the worm that opens e-mail, eats the address book,The virus propagating on the unsuspecting screen,The images are well rendered, and Cader has done a rather interesting job of juxtaposing the varied items in the household, the sublime and the inane, the old-fashioned and the new fangled, in what would be called a postmodern comedy of objects, but there is something missing in all this detail. The images are disconnected from one another, isolated seemingly in the stanzas they occupy, without a personality to unite this miscellany of things-that-break-or-wear out . Objects , of course, are things are human invention , and their meanings(separate from their assigned purpose) will vary from owner to owner, and their eventual failures as either utilities or even as mementos , it might be assumed, as an effect in how a subject regards their dwelling and, in larger aspects, their changed relationship with the world as they've aged. It really isn't enough to list the things in the domicile with an attending remark of collapse or erosion, all this must build to a satisfying conclusion. The one Cader offers us--In the funneling, the grating, the sagging, the gravitating—O icon of muck and filch; there is nothing you won'tDivide, opening trap doors we forget to close.--simply won't do precisely because it reads as if she were seduced by the temptation to write one snappy set of images after another and, tired of her task , wrote a hurried "wrapping up" stanza to end the poem. This is a poem that could stand some work shopping, although the advice is simple enough. She needs to decide who it is that is doing the talking here, who it is this narrator would be speaking to, and then select what images in this first draft would work effectively in a re-imagining of the poem where the felt by delicately presented presence of a narrator would avail her, perhaps, of an ending that seem like a desperation move once the initial inspiration and interest began to flag. Cader writes well enough--I admire the economy and her reticence to either pontificate , engage in bad versions of Language philosophy, or pretend she is continuing what John Ashbery started when he commenced pondering the accumulation of things in his life; the language is sure and distinct. It will take the application of craft, that quality that should remain when inspiration fades, to make this more than an idea for a poem and into something I want to read and discuss.

Indwelling with Teresa Cader

Slate's first poem for 2006 , "Indwelling" by Teresa Cader, is in keeping with poetry editor Robert Pinsky's preference for offering up spikier, less concentrated poems for the readers. Even though I'm often critical of his selections, I hand it to him for forcing the interested readers to think a little harder when coping with what a poet is trying to say. It keeps the mold off. There is a bit of the Bible and not a little of Ginsberg's Howl [www.pangloss.com] in these long lines, as in the way each stanza offers us a repetitive though effectively rhythmic with the way each new thought begins with "In the..." The shroud of Whitman lingers as well.
The technique can be powerful and it's very seductive, too say the least, but there the pitfall is that you lose sight of what you're trying to say as you try to top yourself with a fiery image that is more striking than the one you wrote before it.

In the wind hissing beneath the door sweep,
A tribe of mice squeezing through pocket doors,
In the pants pockets where the evidence remains,
Those filaments of wool in the moth-eaten rug,
In the masquerade of motion that sets off the alarm,
The alarm that arrives via airwaves at dinnertime,
In the worm that opens e-mail, eats the address book,
The virus propagating on the unsuspecting screen,

The images are well rendered, and Cader has done a rather interesting job of juxtaposing the varied items in the household, the sublime and the inane, the old-fashioned and the new fangled, in what would be called a postmodern comedy of objects, but there is something missing in all this detail. The images are disconnected from one another, isolated seemingly in the stanzas they occupy, without a personality to unite this miscellany of things-that-break-or-wear out . Objects , of course, are things are human invention , and their meanings(separate from their assigned purpose) will vary from owner to owner, and their eventual failures as either utilities or even as mementos , it might be assumed, as an effect in how a subject regards their dwelling and, in larger aspects, their changed relationship with the world as they've aged. It really isn't enough to list the things in the domicile with an attending remark of collapse or erosion, all this must build to a satisfying conclusion. The one Cader offers us--

In the funneling, the grating, the sagging, the gravitating
—O icon of muck and filch; there is nothing you won't
Divide, opening trap doors we forget to close.--

simply won't do precisely because it reads as if she were seduced by the temptation to write one snappy set of images after another and, tired of her task , wrote a hurried "wrapping up" stanza to end the poem. This is a poem that could stand some work shopping, although the advice is simple enough. She needs to decide who it is that is doing the talking here, who it is this narrator would be speaking to, and then select what images in this first draft would work effectively in a re-imagining of the poem where the felt by delicately presented presence of a narrator would avail her, perhaps, of an ending that seem like a desperation move once the initial inspiration and interest began to flag. Cader writes well enough--I admire the economy and her reticence to either pontificate , engage in bad versions of Language philosophy, or pretend she is continuing what John Ashbery started when he commenced pondering the accumulation of things in his life; the language is sure and distinct. It will take the application of craft, that quality that should remain when inspiration fades, to make this more than an idea for a poem and into something I want to read and discuss.

Thursday, December 29, 2005

The Decline of Elvis Costello


I had the faint hope that Elvis Costello's most recent CD,"The Delivery Man" , would be a solid and tuneful set of punchy rock and roll and sharply writ lyrics as was Costello's previous "When I Was Cruel" from four years ago, but such is hardly the case. Well, no,that understates the disappointment, which was something akin to questioning my tastes when I was in college and feeling compelled, fleetingly so, to apologize for all the positive reviews I'd given his albums in the Seventies and early eighties when I felt I still had some purchase on informing the culture and the people in it about the best work the best of us were doing. Fortunately, I stopped drinking some years ago and avoided anything so rash; I went to sleep and the worst despair was gone, but I was still irked, cheesed off, madder than a wet hen. Elvis Costello has been sucking for years now, and I was tired of waiting for one of those "return to forms" one anticipates aging rockers to do, hoping they live long enough to make one more disc that has half the kick
such musicians might have had back in the day, or the night, or just back when they cared. One way or the other it amounts to waiting for someone to die, yourself or the artist in question. It's a very slow game of chicken.

It's been long enough to wait for Dylan or the Stones decide that they want to make music again that sounded like they still enjoyed their work as much as the money they make from it. Costello isn't that old, and he hasn't lost his talent; his ambition just got in the way of it. The songs are wandering bits of amorphous mood setting, vaguely sad, melancholic, inward drawn. The worst of "Painted from Memory", is irresolutely medium tempo collection of muzaked dirges with Burt Bacharach (both of whom apparently forgetting that Bachrach's work is marked as much by quirky, uptempo tunes) meets the pulseless shoe-gazing sniffling of "North".Costello has been trying to show everyone how much he's matured and grown as an artist and writer, but unlike someone like Paul Simon, who improved dramatically in his solo work after he finally bid adieu to the collegiate poesy of Simon and Garfunkel's too-precious word mongering, Costello tries to get it all in, to say it all in one song, and then again in the song after that. His songs tear at the seams, and there is not the overflow of talent you'd like, but rather an uncontainable spillage. Simon, through "Rhymin' Simon" and onward, knows the meaning of restraint, containment, care in image and metaphor. He remains a songwriter with an especially strong sense of pop structure, a matter that forces him to make each song the best he can do at the moment. Costello is, on occasion, a better melodist than Simon and a more interesting, verbally dexterous lyricist, but it is his lack of care that sinks him here and throughout most of his output in the 90's. Tom Waits, his closet in terms of sheer talent, does the sloppy and the unrestrained with the kind of genius we reserve for Miles Davis and Picasso. Costello is shy of genius, is a brilliant craftsman when he applies the technique and reapplying himself is exactly what is called for. The songs on the new one are unfocused and drift in structure--Costello seems to be trying to convince that playing being indecisive about how he wants a melody to unfold, or what mood and psychology he wants to get across is enough to evoke Hamlet-like assumptions of deep thought and artful equivocation on key narrative points.

He sounds like he's trying to be artfully oblique, but what Costello forgets is that his greatest talent was his ability to absorb the styles of fifty or so years of rock, pop and rhythm and blues styles and then compose a fantastically buoyant music that was at once subtly argued in the lyrics and intensely rocking with the music. Costello must not like to dance anymore, and has entered middle age with some overblown assumptions that he needs to be artier, moodier, more depressed, more diffuse, more obtuse than he was when he was a young punk trying to make a buck off his bad attitude. There are those die-hard fans who would counter that Costello's lyrics are the subtlest and most literary of his career, something I would argue against, but all the same, this is a weak defense of the general torpor that saturates "The Delivery Man". Even if it were so, albums that are more interesting to read than to listen to are fit, on principle, to be used for target practice at the next skeet shoot.

Thursday, December 8, 2005

John Lennon and the End of the Beatles


Today , Thursday, December 8 2005 is the twenty fifth anniversary of John Lennon's assassination by that ignoble cipher Mark David Chapman, and as much as one wants to deny that they remain obsessed with the great glory of their fiery youth, a day of this kind makes me none the less want to meander around the old and overgrown ground of the past and wonder how things might have been different. But the motives are selfish, as they always have been with me, and I am less concerned with the winsome utopia Lennon wanted to bring us to had Chapman not found his gun and his target, but rather with the decline of Lennon's music, post-Beatles. My position is simple and probably simple minded; Lennon was a pop music genius during his time with the Beatles, collaborating or competing with Paul McCartney, definitely at the top of his songwriting and performer game, and with the introduction of Yoko Ono into his life, we see a lapse into the banal, the trivial, the pretentiously bone-headed.

Yoko Ono did much to make Lennon the worst example of wasted genius imaginable. Though he did make some great rock and roll during his post-Beatle time, and wrote and recorded a handful of decent ballads, his artistry took a nose dive he never had a chance to pull out of. He was monumentally pretentious, head-line hungry, and cursed with an ego mania that over rode is talent. He stopped being an artist, and a rock and roller, and became the dread species of creature called celebrity; the great work that made is reputation was behind him, and there was nothing in front of him except brittle rock music with soft headed lyrics, empty art stunts, and drugs, drugs, drugs. A sad legacy for a great man. The fact of the matter is that Lennon's greatness was possible in large part because of his collaborations, full or partial, with Paul McCartney. Both had native musical instincts that balanced each other: the proximity of one to the other kept them on their best game. The sheer genius of the entire Beatle body of work versus the sketchy efforts from both Lennon and McCartney under their own steam bears this out. Lennon never found anyone to replace McCartney, and certainly never had anyone who challenged to do better, smarter work. Yoko certainly didn't give him anything that improved his music, and her lasting contribution to his career is to give him the errant idea that performing under your ability equals sincerity. It equaled excruciatingly inadequate music.

What's amazing for an anniversary as seemingly monumental as this is the paucity of new insights, previously unavailable information, or especially interesting critical estimations of their estimable body of work. It is a topic that has been exhausted, it seems, since scrutiny on all matters and personalities pertaining to the Beatles has been unceasing since their demise. We have, essentially, is reruns of our own memories, repackaged, remodeled, sold to us again, and endless of things we already know intimately and yet consume compulsively because we cannot help ourselves.It cheapens the term, but "addiction" comes to mind.

There is nothing to add to the Beatles legacy except perhaps add our anecdotes to the ceaseless stream of words that seek to define their existence and importance even today. It's no longer about what the Beatles meant and accomplished in altering the course of history or manipulating the fragile metaphysical assumptions we harbor, for good or ill;we've exhausted our best and largest generalities in that regard, and the task will fall to historians, philosophers and marketers after most of us are dead as to what The Beatles and their songs are worth as art and commercially exploitable assets. For us there remains only a further dive into autobiography, where we might yet find some clue and excitement as to how these guys became an informing influence on our individual personalities.John Lennon and the Beatles changed my life in a major and unalterable way during their existence, and this was something I came aware of only after watching two hours of CNN wall-to-wall coverage of the assassination. I broke down, tears came, I was a senseless, doom-stricken mess, even though at the time I loudly bad-mouthed the pasty, hippie-flake dilettantism of his later work. None of what I thought I mattered mattered in that instance.John Lennon was dead and it was like losing some essential part of myself whose loss would never be filled with anything even half as good or worthy.He still mattered to me in my life quite despite the fact that I'd had what amounted to an argument with him over is politics and his music during the length of his solo career, but despite my best efforts to break off into new sounds and ideas and leave Lennon and the Beatles behind, his death hit as would the death of a family member.


 For good or ill, his work and the crude course of his ideas helped in the formation of values and attitudes that still inform my response to celebrity and events, no less than Dylan, and no less than reading Faulkner, Joyce , or viewing Godard films. The deification that he's had since the killing is the kind of sick, fetish culture nostalgia that illustrates the evils of unalloyed hero worship, a need to have a God who once walked in our midst. This bad habit turns dead artists who were marginally interesting into Brand Name , icons whose mention confers the acquisition of class and culture without the nuisance of having to practice credible discernment: every weak and egocentric manuscript Kerouac and Hemingway, among others , has been published, and the initial reason for their reputations, graspable works you can point to, read and parse, become obscured as a result. Lennon, in turn, becomes less the musician he was and becomes, in death, just another snap-shot to be re-marketed at various times, complete with booklets containing hyperbole-glutted prose that , in essence, attempts to instruct me that my own response through a period I lived in is meaningless. Such hype utterly refuses to let newer listeners come to their own terms with the body of work. It is no longer about Lennon's music, it's about the promotion machine that keeps selling him. This is evil. Lennon, honest as he was most of the time when he had sufficient distance from his antics, would have told us to get honest as well and admit that much of his later music was half-baked and was released solely because of the power of his celebrity. This may well be the time for an honest appraisal of his work, from the Beatles forward, so that his strongest work can stand separate from things that have a lesser claim to posterity. Magazines and online media have used Lennon and the Beatles for no than their value as nostalgia icons in an attempt pathetic glimpses of their own history. It's only business, nothing personal, and that is exactly the problem. Risky to assume what Lennon might ultimately have sounded like had he not been killed, since he had the ability to switch games suddenly and quickly so far as his musical thinking went. 

This was a constant quality that kept him interesting, if not always inspiring: there as always a real hope that he would recover inspiration, as Dylan had after some weak work, or as Elvis Costello had after the soggy offerings of Trust or Goodbye Cruel World. Even the weaker efforts of Lennon's' late period were marked by his idiosyncratic restlessness, and the songs on Double Fantasy, domesticated that they are, might well have been transitional work, a faltering start, toward new territory. It's laughable that Lennon might ever have become as lugubriously solemn as Don Henley, but there's merit in saying that Lennon's work might become par with Paul Simon's: Simon's work is certainly more than screeds praising the domesticated life, and he is one of the few songwriters from the Sixties whose work has substantially improved over the forty years or so. If Lennon's work had become that good, on his own terms, it would have been a good thing, though it'd be more realistic to say that a make believe Lennon rebirth of great work would be closer in attitude and grit to Lou Reed and Neil Young, two other geezers whose work remains cranky and unsatisfied at heart. Since his death, it'd been my thinking that Lennon would have transcended his cliches as some of contemporaries had.

Tuesday, December 6, 2005

burning house

i put my glass down on the tablewhen the house was sold and caughtfire then, there should never behot drinks served near loose lace and drapes.we were walking past a burning houseas shadow animals barked at one anotheron the wal in the awful red light, flaming birdswith wings made of flingers flockling toa spot on the ceiling, we kept walkingwe made a phone call, sirens were screaming.you looked at the reciever and found yourselflost in the small holes in the ear piece, thereare so many voices passing on wires and through
the air that are connected to lives with histories oflove and diaster that all goes without saying whilewe report crimes and sparks we see coming froma wood shingle roof, you tell them your nameand take my hand.there are trucks singing in strident keys
as sparks and smoke make an edge of the night glow
as if something were alive or ceasing to be,
we return home and prepare for bed, i go into the kitchenand find no kitchen, nor glasses
i drank from nor was wearing,
i twist around, the room is dark,i cannot breathe, and your voice is far off likesinging heard through windows in a tall buildingfrom where every burning house can be seen.

Friday, December 2, 2005

An Incident with Small Talk



The quiet of the breath taken, then held, then expelled really like nothing else than a gasp and release scattering the particles into equal portions. The cars parked in the rear chew the asphalt with relish, a stationary address to the puddles formed beneath them (a man with a large hose making it look as though it just rained).
All the way from Michigan the landscape alerted me to a vista fluctuating in a firm allegiance with the exigencies of variety, different lunches in small towns down the stretch, brand-names like home assuaging the intrusion of new accents Though we may be quibbling over the rites of Scrabble the information is good enough to show that the word perambulates does not mean a description of what we did before we learned to walk on the twin limbs under the distinguishing genitalia.
Blood courses coarsely from the lip that caught the ball with the old college try, a hard knock that really rocked some sense into the meaning of duck. Preferring instead the bed of attention, I studied the knot holes in the planks of the ceiling, never high enough to manage the adjustment; I was a bug on my back trying to get up. A quality of life maintained in all courtesy to a hand stretched for all the copper you could spare, no matter, even the meters spit them back.
“Do you want to know a secret” she asked, “Do promise not to tell?”
Her voice was light, a small gasp of air, with shade of a whistle that blowing through her teeth, and I nodded the best I could.
“Well" she began,” one night I was in the Alpha-Beta to buy some wine and this kid who couldn’t have been anymore than eighteen was behind the cash register. I gave him the money and he gave the change and then put the bottle into a bag for me. He sold me wine. That’s illegal, you know? ”
I said that I did know, although it hadn’t bothered me for some time.
”Anyway, his name is Ken and I said I wouldn’t tell anyone. Promise not to tell?”
I said yes, of course, nary a soul will hear of the deed.