Saturday, November 21, 2020

THE GROUSE AWAKES AND RECOUNTS A CHAT ABOUT LIT AND STUFF

The points posted about Pynchon being particularly strong with knowledge of history are well taken, since his fictional project is to imagine and elaborate on the gaps and alienated niches left out of an allegedly all- encompassing narrative sweep, the events and personalities otherwise that reside at the margins of, the periphery of the storyline. A task of postmodern fiction, among other ploys, is to bring the trivialized and reified and the outright ignored to the forefront of the center, place them at the center of the action, and weave them into the structure as elements no less essential to what ever conclusion a novelist might come to than are the efforts of Presidents, Kings, or Philosophers directing hypothetical History to some final, defining resolution. The narrative is not made less grand, but bigger, denser, more intriguing to suss out. 
It's not that either Pynchon or DeLillo had set out to debunk the notion of that fiction can give a reliable accounting of history or the resonance of real-life; it would seem that both remembered that what they want to do is write fiction, after all, and that neither they, nor their fellows, are required to produce work that attempts verisimilitude. Grand narratives aren't shunned by post modern writers, but are played with, expanded, adapted to new shapes and intentions; this demonstrates resilience, not exhaustion, and the undertaking is more interesting for the fiction-writing post modernist. 
I am of a mind that philosophers of post modernism have different sympathies than postmodern novelists. It's not as though all postmodern writers are set on debunking or re-tooling grand narratives. Quite the opposite. Other writers, arguably post-modern, settle on smaller realities, dioramas of kind, worlds self-contained within their own subset: Burroughs, Vonnegut, Donald Barthelme, Kathy Acker, Ron Sukineck, among others of more recent vintage do their work at the borders, creating a vivid narrative sense with their particular experiments that mirrors, I think, a tradition of short stories and novellas, life in obscured corners brought to light. Skewed, though, skewed and wacky, a postmodernist signature. 
Why then would you think of Pynchon at all as a PM while Steinbeck is considered the quintessential Modern?  There seems to be no difference. Pynchon would be postmodern because there is a knowingness about his virtuoso use of myth: besides the fact that he mixes his cultural dictions, high to low and middle brow in the center, he's aware of the ultimate transparency of myth as being just another good yarn one may play with however one decides. Steinbeck, in his faith in the final truth of narrative function, sees myth as containing symbolic Truth about human nature that resists critique. Pynchon’s' use is playfully skeptical, though Steinbeck’s' best work is no less compelling for his use of archetypes. Richard Rorty, in "Contingency, Irony, and Solidarity" defines an "ironist" as someone who realizes "that anything can be made to look good or bad by being redescribed" .Are postmodern writers this kind of "ironist"?  No more, it would seem, than any other writer scribing under the modernist tenet of "making it new", or to another extreme, 'defamiliarizing" (from Bakhtin) recognizable settings, characters and schemes in a language that's meant to provoke readers to see their world in new ways. This is a modernist habit that the new, cubist, cut-up, stream-of-conscious takes on the world will sweep away past aesthetic interpretative models and lead one to a the correct formation of the world-- there remains a faith that language and other senses can apprehend and describe a tangible, material world and capture its complex composition, a "metaphysics of presence" that art can unearth. Irony, in this sense, is usually contained within the story, a result of several kinds of narrative operations coming to a crucial moment of ironic intensity that then drives the story into directions one , with hope, didn't anticipate. 
Post modern writers start off with the intent of being post modern from the start, and rather than have their inventions gear us for a challenge to see the world in a truer light (contrasted against previous schools of lovely language but false conclusions), the project is to debunk the idea of narrative style all together. Irony is intended to demonstrate some flaws in character's assumptions about the world, a description of the world that emerges contrarily after we've been introduced to the zeitgeist of the fictionalized terrain. Post modern writers are ironists of a different sort, decidedly more acidic and cynical about whether narrative in any form can hone our instincts. 
I had a professor once point out that something becomes art once it is framed, no matter what that object may be .This is a classic dada gesture he offered with his ready-mades, such as urinals hoisted upon gallery walls, and snow shovels on pedestals. The point, though, was that the object became an aesthetic object, denatured, in a manner of speaking, from its natural context and forced, suddenly, to be discussed in its very "thingness". The object becomes art by the lexicon we wrap around it, a linguistic default. Whether the object is art as most understand art to be--the result of an inner expressive need to mold , shape and hone materials and forms into an a medium that engages a set of ideas about the world, or unearths some fleeting sense of human experience -- isn't the point here. Ironically, art, generally defined as something that is absent all utility, any definable function, is suddenly given a use that is sufficiently economic, which is to keep an art industry in motion; it is the sound of money. Duchamp, and other Dadaists who sought to undermine this idea of art and its supposed spiritual epiphanies for the privileged few, instead furnished a whole new rational for art vending. " And then the lights went out.

Wednesday, October 21, 2020

THE GRIND OF THE GROTTO MOUTHS

It might sound like a crime against nature, or a crime against common-sense and moral order, but there are indeed  white singers who have technically awful voices  who have managed to fashion vocal styles that are instantly distinct, unique, recognizable.  (Wayne Cochran, a blue-eyed soul guy pictured above, is not one of those. He is energetic and high-spirited, but never gets far beyond the minstrel aspect of what he does. He simply cannot sing anything well.) Mick Jagger is a vocalist who learned to work brilliantly with the little singing ability God deigned to give him: knowing that he didn't have the basic equipment to even come close to simulating Muddy Waters or Wilson Pickett, he did something else instead in trying to sing black and black informed music-- talk-singing, the whiny, mewling purr, the bull moose grunt, the roar, the grunts and groans, the slurs and little noises, all of which he could orchestrate into amazing, memorable performances. 

One Plus One(Sympathy for the Devil)Godard's film of the Stones writing, rehearsing and finally recording the song of the title, is especially good because it captures the irresolute tedium of studio existence (in between Godard's didactic absurdist sketches attempting to address the conundrum of leftist media figures used by invisible powers to squelch true revolutionary change). More than that, we see Jagger piecing together his vocal, his mewling reading of the lyrics from the lyric sheet; his voice is awful, in its natural state. But we do witness Jagger getting bolder as the song progresses through the endless stoned jamming, a grunt added here, a raised syllable here, a wavering croon there. 

Finally, we are at the last take, and Jagger is in  headphones on, isolated from the others, screaming his head off into a microphone while the instrumental playback pours forth, in what is presumably the final take. Jagger, all irony and self-awareness, created something riveting and for all time with the marginal instrument he was born with, and is part of what, I think, is a grand tradition of white performers who haven't a prayer of sounding actually black who nonetheless molded a style of black-nuanced singing that's perfectly credible: Mose Allison, Van Morrison, Felix Cavalari (Rascals), Eric Burdon (early Animals), Peter Wolf, late of the underappreciated J.Geils Band. We cannot underestimate Keith Richard's contribution to Jagger's success as a vocalist. Someone had to know how to write tunes Jagger could handle, and Keith was just the man to do it. Richard's guitar work, as well, riffs and attacks and staggers in ways that match Jagger's strutting and mincing. Writing is everything, as always.


Thursday, October 8, 2020

THE LAST GUITAR HERO

 Eddie Van Halen, the Last Guitar Hero, has died, age 65, from a long battle with cancer. I will say now that EVH is the man most responsible for saving hard rock from withering away . His guitar innovations changed the way other guitarists approached the instrument. Although I had more or less graduated from rock and considered myself a jazz fan and amateur historian of same such music, and restricted my rock reviewing activities mostly to poets, auteurs with deep seated issues, Van Halen's albums were ones I didn't sell off or give away.

I realized years ago, when I was about to graduate to 60 years of existence, that the adult in me often enough needed not Mahler or Miles or Manheim Steamroller but instead give into the need to get up close and personal to guitar genius Eddie Van Halen as he took his zooming, strafing, dive bombing, hurly burly solo on the song "China Town" off the final Van Halen studio album A Different Kind of Truth . It was the usual brilliance from this musician, anchored in place with solid ensemble parts and one of the best rhythm sections in rock history, Eddie Van Halen doing tricks of the hard trade on the fret board; long , fluid lines, glass shattering squeals and screams with the whammy bar and foot pedals, fast, rapid, poised classical references liberally deployed with the standard and over-standard blues riffing, Van Halen was an instrumentalist of rare, rare skill , someone with an excitement factor that added up to the kind of amiable virtuosity that didn't age a bit. I am , of course, talking about his guitar work, which remained superb in his five decades as a band leader, and not the band's albums, more than a couple being routinely lunkheaded in the songwriting and frat boy world view. But that guitar playing!

The supposed requirement that I was to grow up finally at a certain time and act my age with more "age appropriate" music ( what? My parents Big Band collection? My Mom liked to listen to X) is a lie I told myself. I am acting my age and this shredding fete on the fret is age appropriate appropriate The riffs are fluid, flowing with the liquid clarity of an rapidly moving stream, a fluency accented with odd classical formations and post modern blues bends, sub-dominant notes pitched to the heavens. Speed, style, an instinct for getting to the essence of the implied emotional narrative an instrumental should have. This is exciting stuff. There are rock guitarists aplenty who have emerged in the wake of the revolution in technique Eddie Van Halen introduced in the mid seventies who are, maybe, maybe consistently faster, involve themselves in more complicated (as opposed to complex) expositions, but very few of them have EVH's freshness, his flawless instinct fills and suitably choked chords. He has the gift of knowing when to start a solo, and when to end it. He is the man to beat. So far, undefeated.

David Lee Roth on this disc did not have the range or vocal color he used to, he had from back in the day, talk-belting rasp and attitude for the outrageous accents EVH saturates this hook-happy tunes with. What impressed me the most was that this was a great album all the way through. The riffs are hooky, to say the least, the bridges go to places you wouldn't expect, the choruses are splendidly hummable. And Alex VanHalen and Wolfgang VH are a perfect rhythm section. Most of all, though, Eddie plays with an energy and ingenuity we haven't heard in years. It's his guitar work that attracts me to this band, the nasty, sexy, whammy bar -delineated solos that rise up in the full glory and quick witted élan of post-blues rock virtuosity.

Sunday, October 4, 2020

MORE QUICK AND GLIB ANSWERS TO QUESTIONS FROM QUORA

 A query came my way recently which asked a perennial question from the crowd that doesn't "get" poetry: why do people bother to write boring poetry? The question had a tangible snorting contempt to it. For him, I'd wager that he finds all poetry dull, crushingly so. But my answer was this: 

Why does anyone make boring art, since you’re asking. The poets who write boring verse are most of the people who fancy themselves word slingers of that sort—quantity diminishes quality. It seems that most of the poems one comes across from new poets in whatever forum—magazine, open reading, workshop, high school newspaper, university press— are pretty much eccentric minds with pedestrian sense of language application who want to capture big ideas, big emotions and big spiritual concepts in pathetically clunky sentences , often choking their best ideas to death with overworked metaphors , unmusical similes and a fatal lack of self awareness as to whether what they spend so much time writing is something an actual reader beyond their circle of friends might want to read. We also suffer from the tone deaf experimenters who want to be abstract, avant garde and boldly innovative who haven’t the slightest idea of how to be interesting in an opaque way. John Ashbery, Bob Perleman, Leslie Scalapino, Gertrude Stein—they were hard to understand as poets go, but they were lively , innovative and striking in their styles and and habits of phrase making, and they are the exceptions to the idea that most avant gard poetry, as such, is abstract for its own sake and therefore useless and a grind. Consider also that there are bored and there fore boring readers of poetry who render judgements that typically amount to “meh”. These folks are a species of glum Gusses and Gussies who might as well be flipping the TV channels .

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Some else asked me a not unreasonable question, was Norman Mailer a misogynists? Mailer was obsessed with a notion of heterosexual masculinity, culled from his idealization of Hemingway and especially D. H. Lawrence. His writings on the subject are fascinating , and his assertions and literary criticism in his polemic “The Prisoner of Sex” are often brilliant and on point as he takes on feminist theories, but with all the force and grace the prose provides, Mailer insisted women take a secondary position in society and in all social relations, secondary to men. He would recount that his nay saying and the insults and violent fantasies were expressions of respect rather than contempt, and perhaps that is what he honestly thought, consciously, he was doing. 

All said, though, Mailer seemed rather to be trying to work some matters out in both his social and philosophical ideas, and in his fiction. His attitude regarding the role women play in is a conception of a reality where every player is on an existential path of self-definition constantly prefers the experience and success of the male over the female, with accompanying rationalizations that the advance of women toward an equal social and political status upsets the spiritual ecology . The only thing I can take away from that attitude, expressed and refined for decades, is an active contempt for women, misogyny when all is said.Joyce Carol Oates has some wonderful essays on Mailer that are worth seeking out on this man and his relationship to womankind. Mailer was a writer of large gifts and frequent genius who had issues that make appreciating his best work forever problematic.

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Someone was curious enough to ask me who I thought would win in a debate, right wing pundit Ben Shapiro, or linguist and political activist Noam Chomsky. I sought a responsible tone when I responded like so: We will have to be fair in this theoretical context and add we are imagining a younger Chomsky against Shapiro. Shapiro is bright and quick, of course, but he is an inch deep on most issues and tries to distract opponents with a bunch of hypotheticals that are often effective against less skilled debaters. The master of this technique, the presenter of the gratuitous supposition and linguistic trickery was William F. Buckley, godfather of the New Right and longtime host of the debate program firing line. There is an episode of Firing Line on YouTube where Chomsky is the guest, the subject of discussion being US foreign policy in South East Asia. 

Buckley had seriously under estimated Chomsky and his arsenal of techniques to undermine the famed linguist were to no avail; Chomsky is a scholar of the first rank and had thoroughly studied the subject at hand from historical, economic and cultural perspectives, and blended the data in cogent analysis. Chomsky at several points had to correct Buckley as to the facts of the matter at hand. If this were a prize fight, Chomsky would have knocked Buckley out in the first round. Buckley was visibly pissed at having been bested on his own show and for the cameras invited Chomsky back for another discussion. But that invitation was never sent. Sharpiro, remember, is no where near Buckley’s weight division nor skill (to extend the boxing metaphor) . Shapiro going up against Chomsky in a battle of the minds wouldn’t be debate; it would be a human sacrifice.

The Buckley-Chomsky debate can be seen it its entirety on You Tube.


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Sunday, September 27, 2020

YOU IS ANOTHER (walking through the old neighborhoods)

 

It's all anyone can do, walking the street, balancing yourself on the sidewalk, resisting the urge to fall over because not so suddenly gravity has made you more ungainly and the earth feels as though it had shifted, just ever so little. Not much by the degrees we apply to objects we can hold in our hands and study and move and bounce off a curb or a bedroom wall, but with the earth , so massive, smothered in atmosphere and the burdening force of personal weight, the effect sends the city into a vibrant panic, tall buildings do a shimmer, power lines dance and spark.

 On a fine day where you start out not giving a high fiving fuck about personal health and the state of the arts in the writerly communities that only invited you to a sequence of heartaches, heartbreaks and drinking into and past stages of ill health, on a day when your desire is grasp the intangible and abuse in terms of the intractable, your knees quake , you knees ache, a pain shoots from the knee cap upward to the spine  and to the jaw, the mouth closes and the teeth clench as if clamping down on a leather strap during an awkward shave, molars sinking into a tart, chewy leather, and it is then when the best arrogant notions and arrangements for making to midnight as a perfect asshole and king of the city dump go awry.

The meals come off the wagon, you realize there is nothing in the cupboard  for spare wit and ingenuity, you,    brilliant one and all that , are another victim of circumstances in a life you didn’t vote to be in. But the good news in all this worry is that you did not fall to the sidewalk, bust your jaw, and crack your teeth. Through sheer force of will you shift your weight , project a Kirby hand, arm stretched out, fingers splayed like the tines of bamboo rake, somehow all these halts your descent, matters of mathematics and their freaky equations formulated at the split second of stretch and the theory rushed up the spine to a brain otherwise asleep with its camouflaged ego for an effective counter force to be indicated and enforced by powers too awful to dwell on beyond a teasing mention.

You regain your center of being, the property rights to a kingdom to shake anything off and reduce the conflicts of personality clashes and enemy gravities to a compact pile of pressed tin, and as you rise from stumble, as your vision takes in front porches made of baked red brick and mail boxes marked with the graffiti of traveling men, there he stands, your sweetie pie, the one in a  million, your very own kryptonite, a blonde beauty with eyes that could flood the darkest theatre with light enough for lectures , readings and concerts on the uptake. She stands there, head tilted to the side. You feel like a specimen swimming about on a smooth glass slide. You cannot, you will not win.

It's all anyone can do, walking the street, balancing yourself on the sidewalk, resisting the urge to fall over because not so suddenly gravity has made you more ungainly and the earth feels as though it had shifted, just ever so little. Not much by the degrees we apply to objects we can hold in our hands and study and move and bounce off a curb or a bedroom wall, but with the earth , so massive, smothered in atmosphere and the burdening force of personal weight, the effect sends the city into a vibrant panic, tall buildings do a shimmer, power lines dance and spark.

 On a fine day where you start out not giving a high fiving fuck about personal health and the state of the arts in the writerly communities that only invited you to a sequence of heartaches, heartbreaks and drinking into and past stages of ill health, on a day when your desire is grasp the intangible and abuse in terms of the intractable, your knees quake , you knees ache, a pain shoots from the knee cap upward to the spine  and to the jaw, the mouth closes and the teeth clench as if clamping down on a leather strap during an awkward shave, molars sinking into a tart, chewy leather, and it is then when the best arrogant notions and arrangements for making to midnight as a perfect asshole and king of the city dump go awry.

The meals come off the wagon, you realize there is nothing in the cupboard  for spare wit and ingenuity, you,    brilliant one and all that , are another victim of circumstances in a life you didn’t vote to be in. But the good news in all this worry is that you did not fall to the sidewalk, bust your jaw, and crack your teeth. Through sheer force of will you shift your weight , project a Kirby hand, arm stretched out, fingers splayed like the tines of bamboo rake, somehow all these halts your descent, matters of mathematics and their freaky equations formulated at the split second of stretch and the theory rushed up the spine to a brain otherwise asleep with its camouflaged ego for an effective counter force to be indicated and enforced by powers too awful to dwell on beyond a teasing mention.

You regain your center of being, the property rights to a kingdom to shake anything off and reduce the conflicts of personality clashes and enemy gravities to a compact pile of pressed tin, and as you rise from stumble, as your vision takes in front porches made of baked red brick and mail boxes marked with the graffiti of traveling men, there he stands, your sweetie pie, the one in a  million, your very own kryptonite, a blonde beauty with eyes that could flood the darkest theatre with light enough for lectures , readings and concerts on the uptake. She stands there, head tilted to the side. You feel like a specimen swimming about on a smooth glass slide. You cannot, you will not win.

Monday, September 7, 2020

STERLING MAGEE OF SATAN AND ADAM, RIP

Mister-Satan-039-s-Apprentice-A-Blues-Memoir-Hardcover-Adam-Gussow
Sterling Magee, half of the stellar blues duo Satan and Adam, has passed away.It was just announced on Mr. Magee's Facebook page that he "...passed away peacefully last night." No other details. This is tremendously sad news. As a musician, I think he was without peer, and I cannot think of anyone I've heard who has done the one-man-band street musician project as brilliantly or resourcefully as he had done. As part of Satan and Adam, his guitar work was rhythmic and forceful, and the time he kept on his customized drum set up (with cymbals!) unfailingly created grooves and moods and such that complimented his gruff, splintery, exclamatory singing. 
I came across Satan and Adam from a track played on the Sunday blues show on KSDT FM in San Diego, from their first album Harlem Blues in 1991, and followed them ever since that time. I read Adam Gussow's book on his musical partner Mr. Satan's Apprentice sometime later and was taken with the camaraderie , and how they managed such a brilliant partnership. Of course, it was my introduction to Adam's harmonica work as well. Sterling Magee was unique, beautifully so, a transcendent man who spoke the language of the heart and soul, joy, pain, grief, exaltation. My deepest condolences to Mr.Magee's family and especially to Adam.

Saturday, September 5, 2020

AYN RAND WAS A TERRIBLE WRITER AND A HORRIBLE HUMAN BEING

Interesting piece from TLS where the writer, while admitting that Ayn Rand was controversial for repugnant ideas, was actually a good prose stylist on occasion. The best aspect of this article is why Rand's philosophy is again gaining traction, but the defense of her as a writer is a weak sell. She was competent as a writer, as a communicator. Still, the idea that she was "good," as having a genuinely poetic and unforced capacity with language to express the world in explicit yet suggestive cadences, is ludicrous. Whether arguing that selfishness is a moral virtue, government programs for the poor are theft and unethical, that genuine creators have the right to their work above and beyond anyone else in the mass culture, and that said geniuses have absolute, final, and irrevocable rights that override democratic traditions and the general welfare, and that having such rights as geniuses they are allowed to rape as the mood comes to them to further fulfill and confirm their transcendence over the rest of the rotten, greedy, consumerist population,

Rand over rights to the degree that it always seems that every encounter in her fiction is power-plays among straw men and women in a world made of very little happiness, joy, or genuine sorrow. It's a tone-deaf argument to make. Even in the examples of her writing, he proves her occasional precision and elegance with the English word, her descriptions of character actions are overstated and awkward. It's the kind of writing that is the printed equal of someone talking too loud, just under the level of shouting, and too quickly, in a manic effort to outpace the sheer absurdity of her worldview and the bulldozing logic she uses to insist this narcissistic fantasy is a model for how the "real" world should function. I invite the reader to insert their three favorite writers, of any genre, in between these dashes as their own examples of scribes who can write about life in this existence in a way where imagination has made one think harder and clearer of their limited tenure on this planet.

The complaints of the literary elite, the taste-makers, the culture mongers in universities, and the media on Rand's qualities as a writer are absolutely on point: she is a mediocre thinker, a mean spirit as a philosopher, and a braying, uncorked didact as a writer. The argument is a nice try to defend something about Rand's status as a writer, but no sale. A reader of authors who have the skill and craft to speak of unaddressable matters in terms of the unforgettable would note in Rand's paragraphs a constant veering toward the cliche, the fast summation, the received idea culled from the backwater of stale ideas. Experience again the kind of overwriting that is little else than a manic attempt to get away from the cliched expression and the lifeless whims it contains and replace it with hammering rhetoric and unending clauses that come off as nothing less than someone intensely practicing a rant in a steamy bathroom mirror.

I might to a casual reader of this post that you remind yourself that you're in an adult in existence infinitely more complex, subtle, unpredictable, and maddeningly disobedient for not behaving the way any self-declared genius wants it to and find out for oneself how wretched a writer Rand indeed was. Her prose was as awful as her philosophy, a delusional habit of mind that supplied the tinny, thin and brittle intellectual justification that greed, avarice, and unconditional assholism are good things to be. Rand was a creep, a very horrible person.

LONG WINDED AND GLIB ANSWERS TO QUESTIONS ASKED OF ME ON QUORA

Someone on Quora asked if Jim Morrison is considered a genius. This is how I answered:
"The Doors were a mixed bag for me; the first two albums are among the most important rock albums of all time, with the remainder alternating between the proverbial poles of brilliance and balderdash. As a band, they were simply sublime and unique, with the odd combination of blues, flamenco, classical, jazz, Artaud and epic theater being crafted in their hands to create a sound and feel that was singular and instantly identifiable. As a vocalist, Jim Morrison was often as evocative as the greatest fans proclaim, and it fit the half-awake twilight that seemed to be his constant state of consciousness. As a poet, though, I thought he was simply awful, fragmented, crypto-mystic surrealism that, save for some striking and memorable lines, collapsed from its flimsy elisions and obtuse vagaries. In his posthumous collections,, the pieces read too often like the notebook jottings of an introspective 17-year-old. I say that as one who was an introspective 17 year and is now an introspective 65-year-old. Morrison might have become the poet he wanted to be had he been able to write, edit, and finesse his work as he desired when he left for Paris. What I will say, though, is that being the vocalist in the Doors gave him the opportunity to go through his writings, his poems, and select many of the stronger passages for the band's more theatrical songs. The Doors, ironically seemed to be an institutional editor for Morrison's words, forcing the bard to decide which of his jottings was actually the most powerful, concise, emphatic."
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A question posed to me on the Quora website asked "Why isn't literature considered art?". I had a few minutes to kill and offered this response. The benefit of writing a response was that it gave me something to think about besides the apocalyptic geist that makes staying awake such a burden. Here it is:
....Who ever said that literature was not art is either very dumb or is someone who is looking for attention . There is the assumption , sadly held by many, that art is only visual, as in paintings, drawings, sculpture. This is incorrect, an alarmingly false attitude. Art is a broader expressive activity involving all manner of mediums. But rather than go into a long piece of writing defining art as something that transcends a narrow conceptualization, I’ll just quote the definition of the word provided by Google Search:

“ (1)…the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.
“(2)…the various branches of creative activity, such as painting, music, literature, and dance.”
This concise definition of the word “art” correctly broadens the horizons of the things can be considered “art” in the fullest sense: novels, poems, plays, operas, classical music, pop songs, dance and choreography , design, architecture, jazz improvisation, acting, film making…it goes on and is nearly unlimited. The far more interesting discussion , instead of whether non visual mediums can be art in the fullest sense, is exactly how productions like novels, films, dance, poetry, and so on, are “artful”. It’s an actual kind of discussion and discipline that distinguishes the great, the good, the mediocre and the awful, and it considers how history, changing social conditions , influences and attitudes, and new technologies, factor into the quality or the failure of particular works of art in all mediums. None of those matters are ever settled, of course, but it’s an intriguing dialogue where art lovers can share with one another their interpretations of art objects they consider worth making note of.
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Asked on Quora: Was Norman Mailer a mysoginist?
Mailer was obsessed with a notion of heterosexual masculinity, culled from his idealization of Hemingway and especially D. H. Lawrence. His writings on the subject are fascinating , and his assertions and literary criticism in his polemic “The Prisoner of Sex” are often brilliant and on point as he takes on feminist theories, but with all the force and grace the prose provides, Mailer insisted women take a secondary position in society and in all social relations, secondary to men. He would recount that his nay saying and the insults and violent fantasies were expressions of respect rather than contempt, and perhaps that is what he honestly thought, consciously, he was doing. All said, though, Mailer seemed rather to be trying to work some matters out in both his social and philosophical ideas, and in his fiction. His attitude regarding the role women play in is a conception of a reality where every player is on an existential path of self-definition constantly prefers the experience and success of the male over the female, with accompanying rationalizations that the advance of women toward an equal social and political status upsets the spiritual ecology . The only thing I can take away from that attitude, expressed and refined for decades, is an active contempt for women, misogyny when all is said.Joyce Carol Oates has some wonderful essays on Mailer that are worth seeking out on this man and his relationship to womankind. Mailer was a writer of large gifts and frequent genius who had issues that make appreciating his best work forever problematic.
_________________________________________________________________________________________Some one Quora asked whether Chet Baker , a fine trumpeter, was a good poet. I answered this way:

Metaphorically, perhaps. He was a melodic improvisor, embellishing the melody with short, pleasing phrases, building his solos to a well modulated crescendo where there would some subtle and stately expression of his technical facility, and then he would bring the mood down again, easing back into the ensemble . At his best, Baker’s best solos, with their hushed tone, use of space between phrases, and his superb note choices from the many available to him, made his solos memorable. That could be said to be “poetic” and that he , as the creator, was the author of that expression, more specifically, a “poet”. All that, though, stretches the term too much, I think, and does no justice to either Baker or to actual writer poets. Baker was a musician, a jazz improviser, and he created in a great art form. Comparing him to another art form, poetry, degrades his impressive accomplishment.

Thursday, August 27, 2020

THE LONG WINDED


I can assure you, sir, that these things really suck!" -- Don Van Vliet,when selling a vacuum cleaner to Aldous Huxley 

I'm so glad that your long-winded voicemail messages and my delete button  have become such good friends. | Workplace Ecard
Image by mikeable10
No , you're neither drudge nor dullard  for not being drawn to Don DeLillo.  he either appeals to you or he doesn't, as is the case with any other serious (or less serious) writer who wants to get your attention.The charges that DeLillo is tedious, wordy and pretentious, not necessarily in that order, are themselves tedious and , it seems, levied by a folks who either haven't read much of the author, more likely, put forward by a host of soreheads who use DeLillo as a representative of a kind of fiction writing they dismiss wholesale. I'm not an easy sell when it comes to be seduced by writer's reputations--my friends accuse me of being too picky, too "critical"--but I've read most of DeLillo's fifteen novels since I discovered him in the early Seventies; if I didn't find his writing brilliant and vibrant or found his narrative ruminations on the frayed American spirit engaging, I'd not have bothered with him. DeLillo is a serious writer,  sober as a brick, but he is not pompous.

I  marveled at the economy of his writing. He does write long sentences in parts of his novels, but they are so precisely presented they seem positively succinct. And that, I think, is a large part of their power. There are some readers who are slightly stunned when it's revealed that one of DeLillo's avowed influences , a model to learn from , is Ernest Hemingway, who's low-modifier, low-simile, spare and sharp focused prose is detectable even those writers noted for their compound sentences. It would seem to be a matter of not the length of the sentence itself, but with the precision of the words being applied, the practice where typing and jotting things down becomes actual writing, that is, composition, a state of bring elements together that makes the expression comprehensible (shall we add "relatable"?) to readers besides the author and his or her immediate circle. Power and purpose are the things that make a long sentence of fiction a thing of wonder;good sentences are like pieces of great music that you read again, listen to again. The Godfather of the terse, abrupt phrase, Hemingway could, when he chose to , compose a long sentence that had the advantage of serpentine rhythms snaking their way around a nettlesome gather of conflicting emotions and sentiments, but still had a wallop of an adroitly worded police report. The longest sentence he ever wrote, 424 words in his story "The Green Hills of Africa" is cinematic in its sweep: 

That something I cannot yet define completely but the feeling comes when you write well and truly of something and know impersonally you have written in that way and those who are paid to read it and report on it do not like the subject so they say it is all a fake, yet you know its value absolutely; or when you do something which people do not consider a serious occupation and yet you know truly, that it is as important and has always been as important as all the things that are in fashion, and when, on the sea, you are alone with it and know that this Gulf Stream you are living with, knowing, learning about, and loving, has moved, as it moves, since before man, and that it has gone by the shoreline of that long, beautiful, unhappy island since before Columbus sighted it and that the things you find out about it, and those that have always lived in it are permanent and of value because that stream will flow, as it has flowed, after the Indians, after the Spaniards, after the British, after the Americans and after all the Cubans and all the systems of governments, the richness, the poverty, the martyrdom, the sacrifice and the venality and the cruelty are all gone as the high-piled scow of garbage, bright-colored, white-flecked, ill-smelling, now tilted on its side, spills off its load into the blue water, turning it a pale green to a depth of four or five fathoms as the load spreads across the surface, the sinkable part going down and the flotsam of palm fronds, corks, bottles, and used electric light globes, seasoned with an occasional condom or a deep floating corset, the torn leaves of a student's exercise book, a well-inflated dog, the occasional rat, the no-longer-distinguished cat; all this well shepherded by the boats of the garbage pickers who pluck their prizes with long poles, as interested, as intelligent, and as accurate as historians; they have the viewpoint; the stream, with no visible flow, takes five loads of this a day when things are going well in La Habana and in ten miles along the coast it is as clear and blue and unimpressed as it was ever before the tug hauled out the scow; and the palm fronds of our victories, the worn light bulbs of our discoveries and the empty condoms of our great loves float with no significance against one single, lasting thing---the stream.

The sentence approaches the state of pure lyric poetry, where the facts of what the senses reveal to us about the part of the world a character inhabits and finds intimacy with pass by in a rapid, camera like sweep, a suggestion of motion that brings about fast,brief, fleeting descriptions, associations and swift suggestions of emotional attachment  . The scene is both familiar as family yet made strange in the recollection, as a character's subsequent history disrupts an instinctive nostalgia and provides an undertone of rueful irony , a sense of things not taken up. This a fascinating case of recollection examined both as Eden and , maybe, a ring in the the concentric circles of a hell formed by a character's own decisions and choices.For the sheer joy of reading the next passage, let's have a look at a longish sentence from DeLillo's Underworld, where a character is driving, and manages to discern the roads, the highways, the freeway system as an ecosystem . DeLillo allows himself to riff on the theme, and to encroach just slightly on a rant, but the sentence , like many other passages in the sprawling genius of Underworld, is from  a master who knows something about the mystery that comes from the not getting it right avails us of the heart-stopping poetics that momentarily cause us to reflect on our own history of acting in our exclusive interest.
He drove into the spewing smoke of acres of burning truck tires and the planes descended and the transit cranes stood in rows at the marine terminal and he saw billboards for Hertz and Avis and Chevy Blazer, for Marlboro, Continental and Goodyear, and he realized that all the things around him, the planes taking off and landing, the streaking cars, the tires on the cars, the cigarettes that the drivers of the cars were dousing in their ashtrays--all these were on the billboards around him, systematically linked in some self-referring relationship that had a kind of neurotic tightness, an inescapability, as if the billboards were generating reality...
I think there's a clutch of  otherwise smart people who distrust and actively dislike anything that suggests elegant or lyric prose writing. John Updike, who I think was perhaps the most consistently brilliant and resourceful American novelists up until his death,was routinely pilloried for the seamless flow of his telling details. If one cares to do a survey, I suspect they'd find the same caustic template levied at other writers who are noted for their ability to detail the worlds they imagine in ways that make the mundane take on a new resonance. Nabokov, DeLillo, Henry James,  Richard Powers have all been assessed by a noisy few as being  "too wordy". The sourpusses seem to forget that this fiction, not journalism, that this literature, no police reports.The secret, I think, is that a writer possessed of a fluid style manages to link their  mastery of the language with the firm outlining of  the collective personalities of the characters , both major and minor.

 The elegance is in service to a psychological dimension that otherwise might not be available. The thinking among among the anti-elegance crowd is that writing must be grunts, groans and monosyllabic bleats, a perversion of the modernist notion that words are objects to used as materials to get to the essential nature of the material world. Lucky for us that no one convincingly defined what "essential nature" was, leaving those readers who love a run on sentence with more recent examples of the word drunk in progress. I don't mind long sentences as long as their is some kind of mastery of the voice a writer might attempt at length; I am fond of Whitman, Henry James, Norman Mailer, David Foster Wallace and Joyce Carol Oates, writers who manage poetry in their long winded ways. That is to say, they didn't sound phony and the rhythms sounded like genuine expressions of personalities given to subtle word choice. Kerouac, though, struck me as tone deaf. After all these years of complaining about his style, or his attempts at style, the issue may be no more than a matter of taste. Jack Kerouac is nearly in our American Canon, and one must remember that the sort of idiom that constitutes literary language constantly changes over the centuries; language is a living thing, as it must be for literature to remain relevant as a practice and preference generation to generation.

Thursday, August 20, 2020

Briefly, Two Novels by Richard Powers




The Echo Maker has been called an "post 911 novel",a description that seems to fit in that its central metaphor is the yearning for a time before life became problematic.But that's too pat a description, and it cheats against Power's on going themes of characters trying to reintegrate themselves into what they view as an ideal past they've either been torn from, had ignored until they were older and hobbled with responsibility and ailments, or were denied outright. There's some things in common with Don DeLillo, as in how a constructed reality and the narratives we create to give them to give them weight, but DeLillo, despite his frequent beauty, hasn't Powers' heart. The Echo Maker makes me think of a comedy routine where the comedian posits "I went to bed last night and when I woke up everything around me had been replaced with exact replicas".The comedy routine was funny, the novel is tragic, but they share the same premise, finding yourself stuck in a skin where nothing around appears false, a world of impostured objects. Family crisis time, of course, as neither Karin nor Mark having especially heroic lives to begin with, suddenly tossed by circumstance into a medical dilemma where the desired , dreamed of outcome would be a return to the banal life that existed prior to the accident. Powers shares with DeLillo the ability to wax lyric on the familiar world and make it appear strange, foreboding, erotic, fancying a semiological turn as the associations with the objects and places fade and the remains of memory become a forlorn poetry. But again, Powers has the younger, bigger heart than DeLillo's magisterial detachment, and we appreciate quietly conveyed message; pay attention to the moment you're in, make note of what's important, do something with what you have. Not to do so invites regret and final years of wondering what happened during the time in the middle of life. 


The time of our singing richard powers.jpg
The previous Power's novel, The Time of Out Singing  is a saga about a family of mixed race, white German and African American where he watch the struggles of three mixed-ethnic children struggle to find niches for themselves in a racially divided America of the Fifties and Sixties; politics, art, music are areas the two sons and daughter respectively seek their places within, and all are shunned and shunted off. The consequence is hard bitterness , with the power of the novel being that being an outsider in a culture that brags of its inclusionist brilliance is a lonely crock to find yourself stuck in. Powers , additionally, gets the heartache and the delirious joy right; there is alway something seething under the character's surface, passions and obsessions lighting or dimming their view of the day.  There are three children, one with a beautiful singing voice who opts for a classical music career, a daughter who becomes involved with the civil rights struggle,and a second brother who, though gifted as well, buries his ambition to bridge the gap between his siblings. Not a perfect novel--sometimes Powers' superb style turns into a list of historical events as a means to convey the sweep of time-- but the central issues of race, identity, culture are handled well within the story.The writing is generous and frequently beautiful, especially at the moments when the description turns to the music. Powers, as well as any one, describes how notes played the right way can make one believe in heaven and the angels who live there.The Time of Our Singing Powers is  an engrossing and ambitious generational tale of an American family with a mixed heritage of African-American and German Jew, and covers the travails, triumphs and tragedies of this family. 





Staring at the Spines of Some John Updike Titles on a Book Shelf: a very brief appreciation

Select Bibliography | THE JOHN UPDIKE SOCIETY
It's been said that John Updike is able to write extremely well about nothing what so ever, less to do with the sort of hyper-realism of Robbe-Grillet or the purposeful taxonomies of David Foster Wallace than the plain old conceit of being in love your own voice. There is no theoretical edge to Updike's unceasing albeit elegant wordiness. It's a habit formed from deadlines as he authored many books of short stores, published novels at a steady click, and wrote high caliber book and art reviews in great quantity. He was a writer by trade, and write he did . He has published a minimum of one book a year since his first book The Poorhouse Fair was published in 1958, and like any artists who is as prolific over a long period--Wood Allen and Joyce Carol Oates fans take note--there will be the inevitable productions that are ambitious but under constructed, dull, repetitive of past success, what have you.Toward the End of Time was one of his occasional flings with science fiction and it was dull beyond repair. Licks of Love was rather a quaint and grandiloquent selection of lately composed stories that don't add much to his reputation. The Rabbit quartet, though, is masterful, a genuine American Saga of a man who is the quintessential rudderless citizen who goes through an entire lifetime in which none of his experiences gives any clue to purposes beyond his own disappointments and satisfactions. Updike is brilliant in this sequence, and for this alone I'd guess his reputation as a major writer is safe for generations to come. He's had his share of duds, but an unusually high proportion of his work is masterful, even brilliant. The Rabbit quartet, The Coup, Witches of Eastwick, Brazil, Beck: A Book, The Centaur, Roger's Version. I could go on. It's interesting as well to note the high incidence of experimentation with narrative form and subject matter. Rabbit placed him with this image of being someone comically dwelling on the lapsed virtues of middle aged East Coasters, ala John Cheever, (another writer I prize), but he has been all over the map so far as what he's written about and how he wrote about it. Even though I've cooled on Updike lately--I've been reading him for thirty years--I can't dismiss him nor diminish his accomplishment. He is one of the untouchables. Besides, neurosis is character, and it's hardly a monochromatic shade. It's a trait that comes across in infinitely varied expressions, and we need someone who can artfully exploit their potential.