/page/2

John Updike R.I.P.

“If I say that Henry Green taught me to write, it implies that I learned and it is not a business one learns, unlearns rather, the premature certainties and used ecstacies unraveling as one goes.”

—quoted from loving memory, switch out Updike for Green and it says what I want to say.

He was the first great writer who wrote about a world I recognized:  church basements, supermarkets, the eroded earth where little kids play. The stories at the end of Pigeon Feathers are among the most radiant ever written. He taught me the power of adjectives to enchant nouns. He reviewed graciously and generously and accurately. He sought writers from other countries and other traditions. His best New Yorker Talk of the Town pieces, especially his description of Christmas in New York after Kennedy’s assassination, were written as ephemera but should survive for as long as men and women still read English. I have criticized him elsewhere but any writer who added so much to our literature and life has toiled well.

It’s like drinking soy milk. As long as you’re not thinking it’s going to taste like milk, it’s pretty good.

moonlight ambulette

This quote seems to absolutely nail certain movie adaptations. 

via img.ffffound.com
Stay warm. 

via img.ffffound.com

Stay warm. 

Certainly it is valuable to a trained writer to crash in an aircraft which burns. He learns several important things very quickly.

I’ve noticed lately that quantities are often funny. Here, the key is the word “several.” 

http://www.theparisreview.org/media/4825_HEMINGWAY4.pdf

I was itching in eleven different places now.

Mark Twain, The Adventures of Huckleberry Finn

What’s funny here isn’t just the specificity. It’s the suggestion of an inventory. The number “eleven” is a verb.  

Do The Freddie (via anonxftw)

A friend of mine called me when this appeared on a TV retropsective in the 90s and left a message saying, “This is the single most Caucasian thing I’ve ever seen.”

But note the groovy, Brubeck-meets-Stonehenge set design. 

[Dostoevsky’s characters] are John the Baptists of wayward intellect and obsessive pathology, operating in the lower depths where the sleepless deformed brilliant intelligence is busily at work hatching plots that will change the course of history for the rest of us.

Charles Baxter, The Art of Subtext

Dostovesky and Milk 

The movie Milk struck me a commendable and engrossing movie–like most biopics, a little slow to get going because life is so poorly paced. It had interesting things to say about the politics of movements (as opposed to the poliics of governing).  But as fascinating as Sean Penn’s Harvey Milk was, I was also intrigued by the film’s antagonists, San Francisco City Supervisor Dan White and anti-gay California State Assemblyman John Briggs. And looking at the Baxter quote, I realize why: they were Dostoyevsky characters.  That said, a movie about White would have probably just became one more chronicle of an angry disaffected white man. 


I’m Samantha and I like my men like I like my dialog: stiff. 
We didn’t expect much from “Sex in the City: The Movie.”  We were looking for something maybe a notch below Get Smart or Forgetting Sarah Marshall.  But I guess we expected too much.
The movie just underlined how despicable the show’s values were and maybe, in this economy, what might have seemed frothy now seems disgusting.  After less than an hour of fake empowerment, obscene real estate, label idolatry, inane wish fulfillment, and witless banter, we flipped the movie off.          
It took me a couple of days of not particularly diligent thinking to suss the real malignancy here: Sex in the City is not a romantic movie. I know this because Roman Holiday was a romantic movie. Romance requires actually liking the opposite sex, or at least one representative of it, and not just coveting their checkbooks.     


File:Sex and the City The Movie.jpg - Wikipedia, the free encyclopedia (See Wikipedia’s fair use rationale.) 

I’m Samantha and I like my men like I like my dialog: stiff.

We didn’t expect much from “Sex in the City: The Movie.”  We were looking for something maybe a notch below Get Smart or Forgetting Sarah Marshall.  But I guess we expected too much.

The movie just underlined how despicable the show’s values were and maybe, in this economy, what might have seemed frothy now seems disgusting.  After less than an hour of fake empowerment, obscene real estate, label idolatry, inane wish fulfillment, and witless banter, we flipped the movie off.          

It took me a couple of days of not particularly diligent thinking to suss the real malignancy here: Sex in the City is not a romantic movie. I know this because Roman Holiday was a romantic movie. Romance requires actually liking the opposite sex, or at least one representative of it, and not just coveting their checkbooks.     

File:Sex and the City The Movie.jpg - Wikipedia, the free encyclopedia (See Wikipedia’s fair use rationale.) 

Is there anything trickier in movies than being sweet without being saccharine? Roman Holiday pulls it off. And it does something else that seems distinctive to movies: it is a celebration of a city.  

Roman Holiday (1953)

Is there anything trickier in movies than being sweet without being saccharine? Roman Holiday pulls it off. And it does something else that seems distinctive to movies: it is a celebration of a city.  

Roman Holiday (1953)

Huck Finn, Agent Cooper and the Bookhouse Boys
via upload.wikimedia.org
Although I know movies of classics almost always disappoint, I would like to see a movie version of Huck Finn directed by David Lynch.  There’s plenty that’s Lynchian here, even after just sixty pages:  innocence and optimism manages to prosper among nightmares.  Picture what Lynch would make of the scenes where the boys gather, deep in a cave, at 2 a.m; :where Huck’s alcoholic father imprisons him; where Huck fakes his death by murdering a pig with an axe;: where Huck goes in drag into town, and where Huck witnesses two robbers as they plan to kill a third on a grounded river boat at night. 

Huck Finn, Agent Cooper and the Bookhouse Boys

via upload.wikimedia.org

Although I know movies of classics almost always disappoint, I would like to see a movie version of Huck Finn directed by David Lynch.  There’s plenty that’s Lynchian here, even after just sixty pages:  innocence and optimism manages to prosper among nightmares.  Picture what Lynch would make of the scenes where the boys gather, deep in a cave, at 2 a.m; :where Huck’s alcoholic father imprisons him; where Huck fakes his death by murdering a pig with an axe;: where Huck goes in drag into town, and where Huck witnesses two robbers as they plan to kill a third on a grounded river boat at night. 

John Updike R.I.P.
"It’s like drinking soy milk. As long as you’re not thinking it’s going to taste like milk, it’s pretty good."
"Certainly it is valuable to a trained writer to crash in an aircraft which burns. He learns several important things very quickly."
"I was itching in eleven different places now."
"[Dostoevsky’s characters] are John the Baptists of wayward intellect and obsessive pathology, operating in the lower depths where the sleepless deformed brilliant intelligence is busily at work hatching plots that will change the course of history for the rest of us."

About:

I try to read many books. I try to write one book. I watch too many movies. All your questions answered here. Read a recent story here.

Twitter Updates

    follow me on Twitter

    Following: