Thursday, August 30, 2007

I kill me


Hey, four comedians (or actors who usually appear in comedies) in the past four decades have committed suicide (or attempted to, or died of an overdose, in Belushi's case).

Now, that's a cover story!

But I wonder how the death-by-misadventure rate among comedic performers compares to the rate among, say, those serving in the military. Where is the "Tears of the Warriors" cover?

And where the fuck is this guy? (Whom I've spent much of the past week listening to, thanks to this blessed compilation – the “Monster Routine With Hecklers” bit mentioned in the article is one of the funniest, not to mention most fascinating, things I've ever heard, and the whole thing is Bruce trying to talk down a trio of drunken interrupters. He never unloads on them, just keeps slipping the knife in while genuinely pleading for them to shut up. In jazz parlance, most of Bruce's stuff is either all Coltrane or Roland Kirk – this was a rare Miles Davis moment, uh, man.)

Wednesday, August 29, 2007

More schadenfreude

On a diet of coal, urine and wife jokes, Chinese brothers claw their way free

Hey, that was the pitch for my sitcom!


A sample:

Brother #1 (eating coal): You know, my wife is physically unattractive and she refuses to perform sexual intercourse with me.

Brother #2 (drinking piss): My wife, too, is physically unattractive and refuses to perform sexual intercourse! Furthermore, she has no aptitude for cooking.

Brother #1 (eating coal and drinking piss): My feelings about my automobile are far more positive than those I have for my wife.

Brother #2 (drinking piss and eating coal): It is regrettable that automobiles cannot cook!

Brother #1: Ha ha!

Brother #2: Ha ha!

Brother #1: Ha ha!

Brother #2: Ha ha!

Audience: Ha ha!

Brother #1: Keep digging.

Friday, August 24, 2007

Schadenfreude

Actual headlines:

Hookah blamed in deadly fire

Stabbing at nude beach

Canadians warned of possible tainted salami

Burned bugs studied for crime clues

Former Stompin' Tom Connors Guitarist Dies After Hornets Chase Him Off Roof

And, finally:

Astronomers find gaping hole in universe

"They were not cops ... and, um, so what if they were?"

That didn't take long:

Quebec police admit agents posed as protesters

MONTREAL–With the proof caught on video, Quebec provincial police were forced to admit yesterday that three undercover agents were playing the part of protesters at this week's international summit in Montebello, Que.

Not that they were there to, you know, do anything wrong:
But the Quebec police force denied they were attempting to provoke protesters into violence. Rather, they said the three were planted in the crowd to locate any protesters who were not peacefully demonstrating. Police said the trio's cover was blown when they refused to toss any objects.
Except that...
The three officers, sporting bandannas, showed up on the front lines of a protest at the summit. One carried a large rock.
A large, peaceful rock.

Wednesday, August 22, 2007

Why write?

I usually get accused of self-loathing and/or childish knee-jerk negativism (as if those are bad things!) when I write/say something like this, so I'll let the more loathsome and knee-jerk negative John Crace say it for me:
But this urge to be creative - or more importantly, perhaps, to be seen to be creative - surely must what makes writing so irresistible to so many. Few jobs allow a purer expression of the self. You can create your own worlds, your own characters and your own stories; the only limit is your own imagination and talent. And this is where, you can't help feeling, the whole thing begins to fall apart. Because for most people there is a huge mismatch in their perception of their imagination and talent. For when people talk about wanting to be a writer, they don't usually mean they just want to write something in their own time for their pleasure. They want to do it for ours' too.
The genuine, unquashable desire to write a book – as opposed to the abstract thought that, gosh, I'd like to write something someday – represents a lack, a hole, a broken connection or twelve. The wound, as both Edmund Wilson and Norman Mailer put it, though that easily shades into macho/masochistic self-congratulation. You write books because you are shitty – deeply shitty – at just about everything else.

That still sounds like self-congratulation – losers, no matter what they say, have their arms permanently crooked for a self-back-patting. Spend some time near a slush pile, with its thick odour of scorched egos, boundless narcissism, seething, Gollum-like neediness and duplicity, hobbyhorses panting and wet, idées not only fixed but fucking nailed into place, alienation from even the barest and most generous outlines of what we call mainstream culture – you read all that stuff, laughing at first, rolling your eyes and shaking your head, until you realize that They Are Me.

And that's why we write: because we are shitty, self-hating losers.









Oh, and because it's so fun.


ADDED: Following up on Steven's comment, I should say that I'm also mindful of a comment Jerry Seinfeld makes to a newly Botoxed and therapized Garry Shandling (in that new Larry Sanders box-set) on the subject of whether comedy comes from a dark place, psychologically: "God forbid you have talent..."

To which Shandling replies: "I detect some hostility in that answer..."

I don't want to go too far down the art-from-misery road, wherein everything is just Notes from Underground, but still. Inasmuch as most people lack something fundamental, writers and other creative types are at least lucky enough to make something of it. The only problem is that, in most cases, what is lacking overwhelms the thing being made of it. And worse: the lack within the thing being made makes the original lack even more... lacking.

Jesus, I sound like Jack Sparrow.

Tuesday, August 21, 2007

JB, boma ye

It always happens: after watching When We Were Kings, I always get the urge to either read a lot of Norman Mailer or listen to a lot of James Brown.

Nine-and-a-half times out of ten, it's the latter – though I did read The Fight during an extended-though-never-repeated Mailer phase in my last year of high school, a few years before the movie came out. All I remember from it was a scene in which a drunken Mailer, probably on some kind of masculinity- and/or zeitgeist-defining dare, walks on a ledge outside the window at a party, a few stories up.

Back to Mr. Brown – just before the thing below cuts off (and you can find part 2 fairly easily, if you are so inclined), Brown delivers the line I have advised my son to use against all schoolyard tormentors: "I don't know karate, but I know ka-razy!"

Witness the ferociousness:

[Well, YouTube's done tooken the thing down. Oh well, something just as ferocious below.... (I've put this one up before, but what the hell.)]

Monday, August 20, 2007

War porn

Why oh why does every attempt to romanticize war and our "boys in uniform" end up sounding like gay porn?

Christie Blatchford's Globe tug job on the death of a VanDoos soldier:
In this beautiful place perched atop the green Arghandab River plain, before the sun was even up Sunday over ochre-coloured stony hills, the young men of Charlie Company, 3rd Battalion, the Royal 22nd Regiment, gathered in anguished knots, clamping one another in brief, fierce embraces, consoling the most stricken with a clap on the back or a tender rub of a bent head.
I feel awful for Private Longtin's family – even worse that his death gets treated on the front page of one of our national papers as if it were a scene from a Bruce LaBruce film.

Saturday, August 18, 2007

Writers (and other scum)

This letter appeared in the Toronto Star this morning:
Buried today in the second letter of reaction to the deterioration of Queen St. W. is the problem in a nutshell: "Artists, writers and other shady characters gravitated to the area ... " Put a stop to that sort of thing and the city is safe again.
- P.W. Taylor, Toronto

Apocalypse Thursday

I know the weather's been a little weird in the GTA lately, but the long-range forecast showing on the CityPulse site seems just a little, well, off:




Just in case, I'm packing an enviro-suit, a lot of freeze-dried food, and a loaded shotgun.

Friday, August 17, 2007

Use your reviews

Whenever people (like me) go on at length about the noble art of reviewing – its necessary function, its role as Dionysus's Artistotle, Laurel's Hardy, the Chipmunks' Alvin, etc. – few admit that one of the most useful thing about well-written reviews are their ability to warn us off things we were harbouring doubts about, anyway. In that way, reviewers are like hipper, smarter, older friends who, with a slight pursing of the lips and shaking of the head, gently take our elbows as we're about to walk into Spiderman 3 and guide us across the street to a bar for a drink. "Money better spent," the reviews tell us, and we thank them for it.

It sounds crude, ignorant, intellectually lazy, and ant-art, and it can easily lead to unearned smugness (which should really be the subtitle of this blog), but it's a fact. There's only so many hours in a day, years in a life – we often need reviews for no more than a friendly heads-up or a thumbs-down.

They can do more than this, too: they can also confirm our suspicions about things we were never going to bother with in the first place.

Take for example, James Wolcott's assessment of that Californication show starring David Duchovny.
The sex romps are setups for Hank's kissoff lines and parting shots, some of which are so nasty they're like being spat upon. "Consider yourself defiled," he says to one babe as he brings their session to a premature close, and he tells the wife of a producer he's just laid (who had the nerve to insult him that the movie adaptation of Hank's novel was better than the novel itself), "Not only are you a cadaverous lay, you have shitty taste in movies."

"Have you ever heard someone refer to a lover as a 'cadaverous lay'? I doubt it," beams Doug Elfman in the Chicago Sun Times. "That's a mark of clever, original writing."

No, it's not, it's the hoofprint of misogyny, the same half-quip, half-sneer of hip misogyny knocking around in so many Hollywood comedies about manchildren with low metabolisms. I feel sorry for the actresses cast in Californication, who not only perform nude scenes--something many actresses are wary about, knowing those clips will be pasted forever on the internet--but then have their characters dispatched with a crude insult that adds a special spicy dash of indignity for the drive home. Yes, they knew what they were getting into, but even so--Shampoo didn't rubbish its actresses that way. That Hank gets his comeuppance now and then doesn't dispel the smog of contempt that permeates the pores of nearly everybody on this show for the crime of not living up to the ideals Hank supposedly possessed before the sin of selling out turned him into a husk of a writer attached to a roving penis. This is a show that takes cracks at Tom Cruise and Katie Holmes, another sign of slumming and catering to hip disdain. As an actor, Duchovny has become all attitude, which makes him the perfect protagonist for Californication, which is nothing but attitude in need of an oil change.

"Good," the mind says, "one more check-mark on my Not-To-Do List."

On a slightly higher intellectual level, it's always good to see someone pointing out the adolescent narcissism, snickering misogyny, and lack of human empathy that lurks behind - nay, animates - most supposedly "grown-up" comedy.

I've been very slowly making my way through the three seasons of The Royle Family (a show I can't believe I haven't watched before now), and the difference is instructive: for a show that depicts a human hell of farts, nose-picking, bad food, put-downs, and general shabbiness, it's astonishing just how deeply adult and empathic the thing is, right down to its core.

Monday, August 13, 2007

While you were sleeping


Just noticed that this blog turned one on Saturday.

Those were innocent days – we were so young!

Relevant info: "Speech and language development in the first year of life typically follows an orderly progression from grunting and sucking sounds in the newborn to the emergence of a first word at 1 year of age."

Scarily accurate.

Ewww...

Just ewww...

Wasn't the iron fist of Political Correctness supposed to have wiped this kind of thing out long ago? I though Women's Studies and Sensitivity Training had made eunuchs of us all? How did a piggish, white male get back on TV?

Curious.

More here.

Thursday, August 09, 2007

Moving inboxes

New e-mail address at right. I may be one of the only people in the civilized world to have no real complaints about hotmail – for some reason, my Inbox never became paralyzed with junk mail. But this one is easier to track, and for reasons that may or may not be obvious, I am more and more interested in knowing exactly what I said, and to whom.

Wednesday, August 08, 2007

Same as it ever was

I don't buy everything that Louise Tucker writes here, but it does conform to my own sense that publishing never really was the art-loving, profit-be-damned Shangri-la that some suggest. My belief – based on the skimpiest of research and reading, I'll admit – is that publishing houses that are and were "writer-friendly" are/were that way mostly because they can/could afford to be, there not being a whole lot of money at stake. That's not a criticism either way, simply an observation. Both ways – big and profit-driven, small and writer-friendly – have huge disadvantages as well as advantages for an author.

And even the notion of "writer-friendliness" is in dispute: just as there are plenty of writers who can relate getting the cold shoulder by a big press, there are many who recall their time with particular small presses with nothing less than a shudder. I've met a number of writers who published for years with small presses but who now publish with the bigs and who say, without reservation, that they get treated with infinite more respect by the bigs. Obviously, the amount of money their work brings into the company plays a part in the doling out of that respect, and fortunes change quickly, especially post-flop, but still.

This is all to make the very obvious point that it's not true to say that publishing is now all about money, whereas before it was all about art, man.

Sunday, August 05, 2007

Ig on his face

Tom Tomorrow on Ignatieff's much-belated mea culpa.
Even as late as last year's Liberal convention, Ignatieff was insisting he had supported the invasion simply because he cared so darned much about the Iraqi people.

"You know, one thing about intellectuals – they prove that you can be absolutely brilliant and have no idea what's going on." Woody Allen, Annie Hall


More on Ig here.

The best part:
The academics I know and respect don't make mistakes like those Michael Ignatieff attributes to an academic mode of thought: they don't believe that the ideas they play with are ultimately useless, and they desperately want to think thoughts that are true rather than thoughts that are false.

I think what Michael Ignatieff is talking about is not an academic mode of thought but a student mode of thought--a not-too-bright-student mode of thought. A not-too-bright student achieves success by (a) figuring out which book on the syllabus is favored by the instructor, (b) taking that book to be the gospel, and (c) regurgitating large chunks of that book on the exams and in the papers.

Thursday, August 02, 2007

Free like beer and blogs

Alex Good has written a response to that "book blogs r killing criticism" thing in the Boston Globe. (I can't even work up enough interest to link to it.) Good, like me, was ready to ignore the whole thing – really, it's like arguing that trawling free amateur online porn cannot compare with the exquisite thrill of watching a pro like Ron Jeremy stick his shmekl in someone else's moyl – but takes exception to one of the editorial's assertions: that book blogs are full of book reviews, and thus crowding out traditional print reviews.

Anyone who reads the odd book blog knows that's not true by a mile. Most of it, as Good says, is link-with-a-comment. (And if the link has anything to do with Harry Potter or some other mega-bestseller, the comment must be of the eye-rolling variety.)

Personally, I have occasionally considered writing the odd review for this site, but on the rare occasion that I do have a few consecutive minutes of free, non-kid-corrupted time, the list of things I'd rather do than write a book review for myself and for free unscrolls across the floor. In the end, I'm a little like Ron Jeremy: I'd rather get paid for it.

Wednesday, August 01, 2007

Solzhenitsyn's "not afraid of death anymore."


With all due respect, Mr. Solzhenitsyn, if I looked like that, Death would seem kind of inviting right about now. My god, he's like Tolstoy on the Atkins Diet, or Gandalf gone to seed.

Too true, Foo

Pitchfork's hackademic tendencies have been exhaustively dealt with elsewhere (even on its own site), but you have to give credit where credit is due: calling the Foo Fighters "the grunge Wings" is the kind of in-the-pocket snark that only semi-disposable music criticism written by committed intellectual slummers can deliver.

And I mean that in the nicest way.

Only question is, what does that make Audioslave – the grunge West, Bruce, and Laing?

Monday, July 30, 2007

Wad is the what (or, late-night immature blogging)


Oddest post-script to a book review, from Alex Good's take on Bruce MacDonald's novel Coureurs De Bois:
I read this book at the same time as I was reading Ian McEwan's On Chesil Beach, which I criticized for its description of Edward's semen drying to a "cracked glaze" instantly upon touching Florence's skin. In this book, Cobb's parole officer Paddy Pape falls asleep after eating dinner and masturbating, waking up at midnight to find his issue still wet on his stomach. Which by my reckoning must be at least several hours later. I find neither account credible.
Come on, you have to admire the man's spunk in raising such a loaded issue. Takes balls.

Furthermore, skeet skeet!

Friday, July 27, 2007

Kid Kino

Every parent creates their own life-raft of kids' movies they can stand to watch over and over – for they will have to watch them over and over. And over. My own includes The Iron Giant, both Toy Story movies, and a couple of others, like The Secret of NIMH. I've also cheated a little by getting both of my kids addicted to Buster Keaton. (The General deserves all the hype that has been thrown at it, and One Week seems to exist on some thin-aired plane of pure comedy.)

All Miyazaki films falls into the life-raft category, but it's his gentler, less epic and lesser-known films that I love the most. Films like Kiki's Delivery Service and this one. Miyazaki is not only a master of utilizing child logic - for example, the notion that spirits and magic powers simply exist, even if not everyone can see them at work – but also child time, where a day can be like a season, emotionally and experientially. Those two movies unfold so gradually, they almost feel improvised – which is a feat for something animated. (According to this interview with Miyazaki, they are partly improvised.)

Thursday, July 26, 2007

Random Sightings - July

  • On the side of the Eaton's Centre, Dundas and Yonge: a giant ad for H&M featuring a couple of eight-year-0ld moppets in new denim, one of whom is enthusiastically making gang signs.
  • On Eglinton, near Dufferin: a bar called "U Drunk."
  • Beside the 401, near Deseronto: a giant Mohawk Warriors billboard that reads "We Support Our Troops." (Which I think is a brilliant bit of appropriated propaganda, by the way.)

Wolcott on Steyn on Black

Here.

Wednesday, July 25, 2007

Kanye + Zach + Bonnie "Prince" Billy

= the most brilliant thing ever this week.

Not overwhelmed by the song, but I'm not hating it either*, like I did a lot of the stuff off the 'ye's last record. He's better when he keeps the (derivative) beat simple and doesn't go for the hip hop equivalent of the Hallelujah Chorus every time. The rap, on first blush, appears to stick to his usual themes: he loves Jesus, his mama, money, and himself. Oh, and he still can't rap.

(Just for comparison: better song, better video, much better rapper.)


* and it's growing on me.

Lot o' love

Apparently, a group of "let's put on a play in the barn"-type kids are organizing an event in the empty lot across the street from me, the lot that was supposed to have been turned into a new mega-station for police, but which sits empty because the ground is full of arsenic, or rather some highly toxic industrial byproduct from the days when the factories on Lansdowne were used to make all kinds of nasty crap. Perfect place for a party!

To quote the invite:

You are also welcome to contribute to the Land of the Lost structurally, by building a fort or whatsoever your little heart desires.

This is not art or a “partee” per se but an exercise in relational aesthetics. Relational aesthetics is cultural practice based on inter-human relations.

From that, I'm guessing the place will be filled with a bunch of ten-year-olds with cultural studies degrees.

Sunday, July 22, 2007

Achtom!


You know, just this past week I was semi-defending Tom Cruise as an actor, saying he does okay in roles that play to his fundamental soullessness...

Right Away Monday by Joel Thomas Hynes

My review of Hynes's newest here.

(Note that I fucked up – albeit ever so slightly – the title of Kelman's novel. Paging Dr. Bigge! Well, I was never crazy about that title anyway: always sounded to me like bad dialogue from some TV-movie.)

Saturday, July 14, 2007

Good boy, Mark - fetch!

Mark Steyn, objective as ever, compares the U.S. Attorney's office to the IRA at its bombiest. He also mocks the idea that Conrad Black is a flight risk, writing "Conrad Black chose not to flee because he believed himself to be an innocent man, and he believed in the US justice system." (Remember, he's talking about a guy who got nailed for moving evidence out of his office in full view of the security cameras...)

Here's a question: given that all of Black's property has been seized, how is that Steyn is still walking around free?

Tuesday, July 10, 2007

Hip hop? Pish posh!

Somebody's prostate was acting up....

The new Harry Potter: same as it ever was

I'm finding the Guardian's book blog to be mostly filled with dim bulbs kvetching humourlessly about minor issues or being too cutesy – which, I guess, makes it just like every other bookish blog, this one included – but I'm a big fan of John Crace's Digested Reads, and liked his entry on the perils of trying to speed-digest embargoed books.

I especially liked his take on the coming HP:
There again, anyone who's read the first six Harry Potter books, could probably knock off a review of the seventh right now. So here's mine.The book will start witph Harry making his way back to Hogwart's for his final year and his scar will be hurting. Ginny and Ron will be flirting a bit, while Harry tries to take himself seriously by almost swearing. There will be loads more unedited, not very interesting back story that should have been cut and there will be a 'terrifically, exciting denouement that I can't reveal as I don't want to spoil the plot in which two much-loved characters die'. Oh, and JK will make another fortune.
It reminded me of the time I offered to read and review Order of the Phoenix for Maisonneuve magazine, all in one day. Here's part of the results online. I can still remember that day – sticking to the couch, skimming dialogue (something I'd already mastered while co-reading the other ones to my son), watching with dread as the sun went down, the boy having barely got to frigging Hogwarts...

Sunday, July 08, 2007

A bloody mess

My review of Gwynne Dyer's The Mess They Made: The Middle East After Iraq here.

Friday, July 06, 2007

What it's like: The Playground

It's like:
  • Swearwords and numbers scratched into wood.
  • The pinched wheezing of seagulls.
  • The human evidence of an overturned trash can.
  • Swings wrapped tight to the top bar.
  • Dark fists of dogshit in the sandbox.
  • The taste of grass and sand.
  • The slow spin of a upended bicycle wheel.
  • Mosquitoes drugged by the sun or heavy with blood.
  • A crumpled coupon used as a bookmark.
  • Friends, then enemies, then friends again.
  • Unexpected acceleration on a slide.
  • The cranky thief and his adult enabler.
  • Provisional snacks in collapsed bags.
  • Acrobatic over-ambition.
  • Conversations put on hold by tears.
  • Quick comparisons: age, height/weight, mood, intelligence.
  • The silence of teenagers at the grassy margins.
  • Joy, then pain, then joy again.
  • The muddy blood from a strip-mined knee.
  • Warnings that become orders that become ultimatums that become excuses to leave.

Wednesday, July 04, 2007

Be cool or be cast out

I remember the year in high school when the affectedly disaffected discovered the term "non-conformist." It was like finding a potion in the woods, booze under the bridge. Within weeks, we were all non-conformists. All those others, all the ones who seemed to have it so easy, who slipped through life as if sliding down a greased pipe, the happy ones, the popular ones – suddenly, we had a name for them all: they were the conformists.

Non-conformist was a brilliant spell we could cast on ourselves whenever we wanted. Whenever we felt stupid or poor or awkward or out of touch or naïve. Get jostled or mocked by a few thick-necked jocks or preps or stuck-up girls with cars, and – Shazzam! – we were non-conformists.

A year or two before that it was mind games – everyone was playing mind games on everyone else. It was like an army of Mandrakes versus an army of Reveens. A year or two after that it was existentialism – another brilliant spell to be self-cast. Somewhere in there was the time everyone suddenly went gay – Lou Reed gay; Morrissey gay; heroin gay – then everyone became a born-again Christian. Then mostly everyone smoked too much pot, or burned through their student loans too fast, or never bothered with college or university in the first place (non-conformist) and ended up back in town, trying to avoid the one girlfriend they couldn't convince to have an abortion.

Many decades before that, it was called being an outsider, and it sounds just as lame and falsely courageous being celebrated by a middle-aged novelist as when earnestly declaimed by a drunk and high eleventh-grader in an army jacket in the back of a car.

Friday, June 29, 2007

Reviewing: a review

I haven't yet had a chance to read through all of Alex Good's essay on the State of Reviewing in Canada (seems to call for the upper case, like a report from a royal commission) – mostly I skimmed it for my own name....

At first blush it looks mostly like "sky is blue" kind of stuff – book reviews are not taken seriously, reviewers are not paid well, most reviewers don't know what they're doing, undeserving books hog all the attention, big names gets handled with kid gloves, o tempora, o mores, etc. – but I'm sure it's still worth a read.

I may add my own two cents later.

Thursday, June 28, 2007

"Nice land claim you got there..."

"... shame if anything were to happen to it."

OPP Commissioner Julian Fantino applies his usual diplomatic style to the tense state of native relations:
"I believe that First Nations and aboriginal leaders across this country are making great progress ... and I would hate to see Mr. Brant or anyone else destroy that progress that is being made," Fantino said.
Oooh, what's the government going to do, ignore court rulings in favour of native bands and drag their heels over just about every single land claim? And if they did, how would we notice the difference?

ADDED: Maybe this is just too obvious to note, but isn't this all just a wee bit of an overreaction? I mean a guy wants to block train tracks with a dirty old bus – something he has been promising to do for weeks – and our brave, brave security apparatus is acting like it's the second coming of Osama Bin Laden. You don't think they're exaggerating the threat to help drive their own agenda, do you? After all, if Brant's magic bus was all it took to bring this province to its knees, then how well would we do in a real crisis?

Yippee ki nay

Funniest review of a review of the new Die Hard.

(Found this thanks to S,N!)

ADDED: speaking of Yippee Ki Yay...

(Where is "If it bleeds, we can kill it."?)

Tuesday, June 26, 2007

Public orgasms for thee, but not for me

Leah McLaren is disappointed by the apparent settling down of some of the crazy performance artists she heard about in high school but never saw, and is still too classy to go see now.

Having endured Leah's performance in the Tish Cohen thing below, I think I can safely say that a public viewing of Annie Sprinkle's cervix is a lot farther down the scale of ick.

Saturday, June 23, 2007

I'll have the corn, extra cheese, with a side of eye-rolling

And the nominees for most unconvincing acting in a diner-set promo spot are...

The book trailer for Tish Cohen's Town House:




And the Hilary Clinton Sopranos-parody:



The winner gets whacked. The loser, too, while we're at it.



While we tabulate the votes, let's watch a good diner scene:

Friday, June 22, 2007

Sawyer saved!

It's not online, but the brief interview with Robert J. Sawyer I did for the never-to-be issue of Toro has resurfaced in the latest issue of Maisonneuve (thanks to a last-minute rescue by the intrepid and always nattily dressed Carmine Starnino, who is an associate editor for the magazine).

ADDED: It's worth seeking out the interview to read what Sawyer – a fan-friendly author, almost to excess – has to say about Atwood's LongPen device, which he compares to the kinds of thing used by Hazmat professionals.

Wednesday, June 20, 2007

Some chickens just can't dance

Maybe I'm just dense, but what the hell is going on in this Popmatters review of Emily Schultz's Songs for the Dancing Chicken?

The superstructure of possible identities in approaching the text creates a web that circumscribes the uncertainty and doubt necessary for this work because this work is one of space, albeit monumentally small space. But it is not the vastness of space that so troubles us, the incomprehensible distance that to gaze into draws us ever nearer the beginning of being since that distance can be safely parsed into fact and statistic.
This is what the inside of my head looked like after I finished reading the thing:


Ponyo on a Cliff

Hayao Miyazaki, whom I thought had retired two films ago, has a new one coming next year, called Ponyo on a Cliff. It's about a goldfish princess who wants to be human.

Hey, he made a frigging spirit-world bath-house and a walking castle work, he can make this one work, too.

Monday, June 18, 2007

Novel indigestion

Matthew Kneale thinks that writing a novel is like cooking a good meal.

Ah, literary writers and their cozy lifestyle metaphors for the creative process! What are the final revisions before publication – an after-dinner apéritif on the veranda?

From my very limited experience, writing a novel is more like preparing hundreds of kids' lunches every day: your every intention is to make something delicious and varied and nutritious, but through impatience, fatigue, failure of the imagination, or simple lack of time or talent, you end up with some lumpen, over-familiar, and over-compromised mass – jam sandwiches and carrot sticks – that depresses even the person who put it all together, never mind the bright little minds who open it later, full of anticipation, only to be deeply disappointed. (And who probably toss what they can't trade.)

Friday, June 15, 2007

Defending the short story (or, why you shouldn't bother)

AL Kennedy on the much-maligned short story:
The short story - it gets a bad press. Well, mainly it gets no press at all, which is worse. But if it ever is discussed, the short story is usually dismissed as the commercially untouchable equivalent of finger-painting.

In an age when responsible adults will happily read Harry Potter books in public, the short story is supposed to be something for children - possibly because they're short, too. Plus, it's condemned to labour under the pedantic curse that demands a beginning, a middle and a twist in the tail. The magazines that used to print stories have largely disappeared and they're left to be harried by endless small-scale competitions that merrily dictate size, content, themes and even title options. (Would you do that to a novel?) Stories are allegedly what novelists knock off when they're feeling lazy, me journalism with a dash of purple prose, something to read in the toilet, a waste of trees.

I know that, as both a writer and reader of short stories, I'm supposed to say, "Huzzah!" and "Finally!" at this, but even putting aside my natural inclination toward hating everything that is good and well-meaning, I think these kinds of things are not only pointless but self-defeating.

A few months ago, at a literary awards event, the head of a jury handing out an award for best short story gave an impassioned defence of the short story form. Almost involuntary, a thought came into my mind: "I guess the short story is dead after all..."

How do you "defend" an artistic form? I can make arguments as to why a particular writer or book should be read, but a form? There's a lot of three-minute rock songs I like, too – doesn't mean I think people should be out scooping up as many of the things as they can simply because, you know, rock songs are good!

Despite Kennedy's claims to the contrary, modern short stories are not typefied by their diversity. There is always someone around putting some quirky spin on the basic model of the "20-page bourgeois blues," but that just confirms the primacy of the central model. As James Wood said of magical realism vis á vis plain-old realism, the bourgeois story schools its truants. I'm not complaining about that – how could I, given that my favourite short story writers (Chekhov, Cheever, Pritchett, O'Connor, etc.) pretty much invented that model, along with Updike and Munro and the rest. Within that frame, Barthelme is more like Updike's acid-dropping older brother than anything truly alien. With so many stories and writers trying to fit within that narrow cultural cohort, of course the general reading public is not going to respond with boundless enthusiasm. You can only read so many stories about the end of a significant relationship, and about the feelings engendered by such an event. (I know; I've written them, and still do.)

The arguments in the defence of the story also get confused when it comes to separating artistic realities from economic ones. Kennedy's piece is typical. Stories, she writes, are too often "condemned to labour under the pedantic curse that demands a beginning, a middle and a twist in the tail." How declassé – an ending. Short stories are the purest form, she states, and should be subject to no outside considerations, especially crass commercial ones. But then she complains that agents and editors don't take them seriously as a commercial concern, and commercial magazines don't print them anymore. And they especially won't print the naughty ones.

This is called wanting to have one's short fiction cake and eat it, too. Especially odd given that she invokes the name of O. Henry in the piece – not exactly the purest avant-garde model around. Do you want to be rich or respected?

A short story collection won the Giller prize and was one of the bestselling Canadian books this year. Why? For one thing, because it was a collection of stories about doctors, written by a doctor. And it was written well. In other words, short story collections don't sell... until they do. Here's a shocker: agents and editors have no idea what will sell, either. Not until someone comes along with something that a large number of people enjoy reading. (Then they go looking for more of that.)

In other words, it's the writing that justifies the existence of a form, both commercially and artistically.

Pouting that the critics and the marketplace don't take you seriously enough and exhorting people to read stories just because stories are good! is the best way to signal your own irrelevance. After all, I'm sure the classical music press is full of op-ed article wondering why people don't listen to more fugues....

Thursday, June 14, 2007

Showdown on Lansdowne

My neck of the woods made the papers:
It has been a classic local battle between the people and their politician in Toronto's west end.

On one side: the city's youngest councillor, Adam Giambrone, a staunch supporter of the $2-million project that will narrow Lansdowne Avenue between College and Bloor Streets from four lanes to two.

On the other: Sam Galati and his band of neighbours from the Toronto Lansdowne Residents' Association who object to the plan because they fear increased congestion and are angry about what they claim is a lack of consultation.

Their opposition is writ large on lawns along Lansdowne and neighbouring streets where dozens of yellow signs stand stamped with the words: "Giambrone, don't narrow Lansdowne!"

Residents have also held what they call traffic JAM-brones - parading over crosswalks and stalling traffic - and waving signs at last weekend's Portuguese parade in the area.

Mr. Giambrone is playing host to a meeting with Mr. Galati and the residents tonight at city hall in hopes of healing the rift. But the work will still begin next week, he says.

I'm fairly ambivalent about the whole thing. I know some of the people involved, and I'm puzzled as to why a bike lane isn't part of the plan (maybe it is and I'm just missing it); on the other hand, I lived on that stretch for a couple of years and found it almost willfully unfriendly – aside from the one or two people we knew, our neighbours only started even saying "hello" after we'd been there a couple of years. They even snubbed our kids, which I just found perverse.

Which is all to say that although the residents probably have a case, part of me is, like, fuck em.*

On the other hand, I don't understand how our councillor let this get this far. Having said that, he was for a while the president of the federal NDP party, so perhaps it shouldn't be a surprise when his political instincts are found wanting....



* totally unfair and petty, I know. But there it is: don't snub my kids.

ADDED: more on the whole broohaha here and here, with long back-and-forths in the comments sections.

Furriners

Tbogg knocks the idea that immigrants sticking together is somehow a new thing:
As an American Southwesterner I'm not exactly sure where these "apartheid communities and enclaves" have sprung up, but I sincerely hope that they are surrounded by a buffer zone comprised of Little Italy, Chinatown, Koreatown, and maybe a pleasant neighborhood where you can still get a nice piece of whitefish to nosh on....
This kind of thing reminds me of the debate between Haroon Siddiqui and George Jonas about immigration in Canada in new revised edition of Great Questions of Canada. Jonas gives the usual line about all these brown people (ok, he doesn't use the term, but the implication is fairly clear) who cling to the ways and language of their mother country and who – horrors! – sometimes only come here to work for a while before fucking off back home, cash in hand.

Siddiqui has to gently remind Jonas that the English and French were doing all of that from the moment the country was "discovered." Many still do. After all, who were the ones huddled in forts and speaking an alien language for the first half-century of this country's existence?

My own parents, immigrants themselves, made a point of avoiding some of the anglo motherland enclaves in the area where they eventually settled, where people spent time in tea rooms deploring calling trucks "lorries" and television "the telly" and generally deploring the colonies. And yet, for all their efforts, they remained as English as beans-on-toast, bad teeth, and emotional impotence.

Intelligent discussion of immigration often gets cut short by knee-jerk cries of "racism!", but that's because the discussion too often is implicitly racist, however unintentionally so. It's like gay marriage: any possible discussion of the potential cons (and I'm all for it, by the way, though I am always open to hearing the contrary position, just as I waited in earnest and in vain back in 2002/3 to hear an actual intelligent, non-crazy argument in favor of the US invading Iraq) is totally overwhelmed by impassioned-yet-evasive arguments made by people who can't simply admit that their biggest problem with the thing is the idea of penises in bums. (Talk about your contrary position! Ba-da-boom!)

Where was I...

Tuesday, June 12, 2007

A heartbreaking sale of stagnant genius

McSweeneys is holding an auction to help offset recent losses.

On the auction block:
  • a childlike sense of wonder in the world and a belief that amusement is the invisible force behind everything
  • a strong dislike of cruelty, parochialism, and ickiness
  • an unshakeable faith in the super-duper-extraordinary power of hyperbole
  • a lock of Susan Sontag's hair
  • A KISS pinball machine
And, of course:
  • a million hearts, huge and wide open (unless you're one of those tacky asshole reviewers)

Sunday, June 10, 2007

I'm looking for pound notes, loose change, bad checks, anything...

Spinal Tap's "Gimme Some Money" used in an American Express commercial. If you listen closely, you may also hear a small gurgle from irony's fast-decomposing corpse. Somehow, it's even funnier in this context.


Friday, June 08, 2007

Thursday, June 07, 2007

Agog over prog

I'm not sure yet what I think of the thing myself, but being what a friend of mine referred to other night as a "closet Yes fan," it gives me an enormous amount of smug pleasure that people are getting hyped up over this Battles record, which sounds, on first blush, an awful lot like Big Generator-era Yes (which is an era that makes even me shudder).

I really like this song, however (it goes nowhere, but neither does a lot of things I love):



[Added: I freely admit that it yields up nothing of interest after the second or third listen, but I think it would work well on, say, a 400-level highway, something I'll be seeing a lot of this summer. Repetition and forward drive become more important in music in direct relationship to the length of the drive.]

Wednesday, June 06, 2007

Babstock talk

Ken Babstock interviewed in the Globe.

I remember the "Ottawa Valley rock band" mentioned in the thing, having once played in a band that opened for them in a second-floor bar about the size of my desk. They were shit. So were we. Who wasn't?

Shocker: Gore Vidal feeling litigious

Gore Vidal plans to sue Edmund White over the latter's play Terre Haute, about a cultured European starting a correspondence with a terrorist, as Vidal did with Timothy McVeigh.

It's not clear if he was serious or just feeling cranky.

Story is in today's National Post - I'll link to it when I can find it online. [Found it.]

"For certain people after fifty, litigation takes the place of sex." - Gore Vidal

Tuesday, June 05, 2007

Revamping the Rag

Beattie's joint has moved and gone upscale.

I like the new look, and am a little envious, though the "notes from a literary lad" tag feels a little too "Memories of Oxford Common Rooms" for me.

I've been wondering what to do with this place. It's very nearly a year old, and gets some decent daily traffic – fewer visitors than places like BoingBoing or Arts&Letters Daily get in the time it took to write this sentence, but a decent enough number for a blog like this, that is mostly full of snide one-liners about Canadian also-rans, with the occasional impotent rant about some minor CanLit non-event.

I will likely spruce things up closer to the publication of the book, though that is still [winces] a year away. Probably the first thing to do will be to move, as Steven has, that .com closer to my name, though for now there is something appropriately humble about keeping the two separated.

Monday, June 04, 2007

Writing the city, at arm's length

Here's a well-meaning but fairly bland thing on writers "mapping" Toronto through their writing. What's notable, aside from all that is missing, is the tone of most of the examples given: detached, passive, chronically amused/bemused, seeing the city's most obvious landmarks through the wrong end of the telescope. Nowhere is the observer immersed in the city, a part of it. A flea on the back of a dog doesn't stop to say, "What strange and wonderous things, these dogs!" or write prose poetry about canine physiology.

More on writing Toronto here.

A day late

Being away from TV and radio for the weekend, I had no idea who won Saturday's game. After buying the Sunday Star the next day, I still didn't know – amazingly, there were no Stanley Cup results in the paper, the sports section having clearly been laid out sometime Saturday afternoon.

That's the way to win the newspaper wars.

Luckily, I was able to catch the highlights in the only bar open in Bala on a Sunday evening. While waiting for my take-out food, I think I saw the Pronger hit at least four dozen times, from every conceivable angle except "concussion cam."

Cottage country


A few days gone, in the heart of the Muskokas, in a tiny cabin only a few minutes' walk from the Kee to Bala. Check out that lineup at the link - Mobb Deep being the odd men out.

(Above: the "beach" in front of our rented cabin. The Canadian Shield protects us all.)

Thursday, May 31, 2007

Grants for gardens

NYC is apparently awash in arts money, though the way they define such activity is a little, mmm, broad.

From the article:
The calculations include artists' salaries, money that arts groups spend on services and supplies, and audience spending on hotels, meals and parking. Also included is "induced spending" on food, clothing and other items by people who earn money through the arts.

The arts industry in the report includes theaters, museums, gardens, art galleries, auction houses, arts-driven tourism and movie and television production.
Why not count all money spent while talking about the new Ben Stiller movie?

This demonstrates nicely the folly of trying to assign dollar figures to the "worth" of the arts. Bookninja thinks Harper should sit up and take notice. Really? If Harper were to take a lesson from this, it would be that we need more large-scale, commercial entities like Broadway, Spider-Man, and the David Letterman show, which doesn't exactly the fit with the usual "more arts funding for unprofitable niche dilettantism now" creed.

Give a starving poet a fish and he eats for a day. Teach him how to work a boom mic and he can feed his family.

ADDED: Just to make clear, I'm all for funding unprofitable niches - I'm an unprofitable niche myself, after all – but let's not compare oranges with Big Apples. And justifying arts funding based on payoff just opens the door to someone saying, "Well, if payoff's the aim, why not only fund sure-fire payoffs?" Which is very nearly the opposite of what arts funding is – or should be – about.

Tuesday, May 29, 2007

Canada: the world's small town

Not sure how underrated some of the books on this list are – Martin Amis? Lydia Millet? Russell Banks? – but this one is even more of an eyebrow raiser:
VARIETIES OF EXILE
By Mavis Gallant
Canadian expats look lovingly home in this collection by Mavis Gallant, a kind of Alice Munro for those who got out.
—Chris Beha, Bookforum
"For those who got out?"

Monday, May 28, 2007

Yo ho

All of the criticism that has been hurled at the third Pirates of the Caribbean movie (that it is too long, too loud, too everything) is accurate but completely irrelevant. This one is a mind-musher, and an effective one at that. As long as you go in with the correct level of immaturity, you'll be just fine. And it's not like the first two were Throne of Blood, or something.

It also does an interesting bit of revisionism by making Geoffrey Rush's Captain Barbossa – and not Depp's Jack Sparrow – the most interesting and watchable ham in the joint.

Friday, May 25, 2007

The Birth of the Fool (me)

I didn't know until today that I share a birthday with Miles Davis. In honour of that, here's some Miles from 1959 with the Gil Evans orchestra. I'm guessing that Miles' Gil Evans albums sounded pretty square to most jazz fans even then, and yet they are the ones I keep getting sucked back into, more so than the electric stuff or the iconic mid-sixties quintet. (I'm especially a sucker for Miles Ahead, from which the pieces below are taken.) They're brilliant fluff, ear candy, but never campy or glib. Miles was dead-serious about it all, as usual. It was if the challenge was to see just how far into seriousness light music could be pushed, which is why the albums always remind me of Pet Sounds.


Thursday, May 24, 2007

Angry at the Angry Old Men

A review of Colin Wilson's The Angry Years: the Rise and Fall of the Angry Young Men here.
Instead of being funny and outrageous, however, the tone of The Angry Years is gloating and the prose flatter than a cartoon cat hitting a wall. All Wilson wants to do is settle scores.

[...]

Amis wanted to push Wilson off a balcony during a party ("Look, there's that bugger Wilson"). Of this incident, the author reflects, "For some reason I never quite understood, I seemed to arouse in Kingsley Amis the same deep uneasiness I could sense in Tynan." The explanation is not hard to seek. Wilson gets up people's noses because he has such a high opinion of himself: "I had taken it for granted that I was a man of genius since I was about 13."
Amis père, before he became bloated and hateful, wrote some scorching things about Wilson. I'll dig them out later.

Slush to flush

I'm not sure the news that slush piles are full of unpublishable shit counts as "shocking" anymore. And I say that as one who has had a few jobs where donning the enviro-suit and wading through the slush was required, and as one who has occasionally contributed my own earnest, unpublishable turds to those piles.

Speaking of slush piles, Miss Snark has retired her blog.

Wednesday, May 23, 2007

Arts & Letters Daily... today

I know A&L Daily's been this way for a while, now, but I thought I'd do a semi-random sampling of its front-page links from today.

So here we are (tell me if you see a pattern):
Londonistan calling. How a nation moved from cricket and fish-and-chips to burkas and shoe bombers in a single generation... more»

Bad news from Gujarat: why is India seeing the erosion of democracy and the rise of Hindu fascism? Martha Nussbaum asks the hard questions... more»

Western analysts bleat on about the strategic importance of that backward, oil-rich area we call the Middle East. Why not just ignore it?... more»

Literary blogs are fine. They’re a version of your mom’s book club. But when it comes to serious reviewing, we need serious media... more»

Who’s “more literate” when it comes to literature, Bob Silvers of the New York Review of Books, or George W. Bush? Tom Wolfe says he knows... more»

Climate change is “a baptism by fire for the developing global society,” says one scientist. And so what, if science becomes activism?... more»

Charles Darwin’s theory of evolution can be linked, some say, to such diverse evils as communism, fascism, and terrorism... more»

What’s wrong with the modern literary novel? Why is it so worthy and dull? Why is it so anxious? Why is it so boring? Julian Gough asks... more»

American feminists are destined to play but a small role in the battle for Muslim women’s rights. They are too preoccupied by their own imagined oppression to help others... more»

Goethe was a new kind of hero, and man who brought art and life together in a way that did not look like a grubby compromise... more»

European leaders mean well but are naive in their stance on Turkey, says Ayaan Hirsi Ali. Turkish liberals need the army in the struggle with the Islamicists... more»

Ahmadinejad’s promise to wipe Israel off the map has not been taken seriously the West. It should be – and we ought to bomb Iran, says Norman Podhoretz... more»

Stalin’s greatest pleasure was to choose his victim, wreack cruel vengeance, and then go to bed. “There’s nothing sweeter in the world”... more»

George Tenet’s new memoir: a bogus history by a man whose hindsight is cockeyed and who had no foresight at all... more» ... more» ... more»

Decaf liberalism brewed with fair-trade coffee. Benjamin Barber’s new book is about as subversive as Ben and Jerry’s or Whole Foods... more»

Cardinal Ratzinger’s message was that Jesus is a genius, and the lucidity of his exegesis should prompt Alleluias... more» Also: Did Hitler go to heaven?

And, finally:
Blogging is yammering, not writing, and the “democratic literary landscape” it creates is a wasteland, without standards, maps, or oases of intelligence and delight... more»

Kent Brockman: "Tonight on Smartline: The power plant strike, arglebargle or fooferaw?"

Tuesday, May 22, 2007

Reviewing as drudgery

About the only thing that needs be said about this, is that the piece is about as dull and stodgy as the kind of reviewing its author envisions as an ideal.

He may the kind of reader that gets intrigued by the passionless, ego-less, turn-your-head-and-cough-type review, but I believe – I hope – he is in the minority.

Book reviewing and book chat is imperilled as it is – one thing we don't need is to dull it all down a little.

Friday, May 18, 2007

Review or Press Release?

It’s time to play Review or Press Release?, in which you, the reader, must determine whether a piece of writing about a book is written by a critic or a publicist.

First up is this review in The Independent, of Shaena Lambert’s first novel, Radiance.

Ready? Go!

Thursday, May 17, 2007

Don't read me...

... go read Zach.

I agree with just about everything Zach says – except the line about "ersatz stuff peddled on every streetcorner and campus quad," streetcorner poetry pedlars being a rarity at best, and thankfully so.

That boring crap is made no less boring or crappy by virtue of the themes it "investigates" is a truth so self-evident it's a mystery why it continues to get overlooked by so many writers, editors, and critics. However, it is possible to run too far in the opposite direction when trying to distance oneself from the more nationalistic critical structures of Atwood or Frye. Most of the reading I have done, and which has shaped my own thoughts about what fiction can and should do, has been British and American, which I am fairly sure is the case with a lot of writers. For the longest time, that fact didn't bother me – you go where the food is freshest and most plentiful, after all. Maybe it's a side-effect of living in this massively multicultural city for the past decade, but for a while now I've felt more of a yearning to see more distinctly Canadian experiences transformed into art. And that includes the multicultural fact of this city, warts and all, in case any anybody thinks I am getting wistful for the old days of Scotch-Protestant hegemony. Though even there, I am personally interested, as a writer, in the pockets of passive resistance to the "good new days." In the ways in which, say, Ontario's essential cold-bloodedness – see: Munro, Alice – can continue to reign all-but supreme, even as the province becomes more diverse and interesting on the ground. That's a visceral cultural tension you'd think more writers would be leaping on hungrily.

That's all to say that it would be going too far to say that a work's Canadianness it totally irrelevant to how it gets received. Mediocrity should not be cheered on, wherever it's from, but that doesn't mean we shouldn't hope a little harder for success for the home team, or feel particularly despondent when it goes into a slump, for this very reason (from Zach): "a country's poetry should be one of the things that shapes it."

ADDED: As Adam Gopnik wrote about Mordecai Richler:
He had to write about a city (and country) that didn't quite know it was one, about the manners of a tribe who hadn't been told they had them. The urge to inventory a reality that everyone else thought was merely a dependency, one that didn't really count.
What he said. Except that – now, and here – tribe has become tribes, and all that entails.

Not that it is the only possible one, but "the urge to inventory a reality that everyone else thinks is merely a dependency," is, by the way, a great response to the question (often self-directed), why write?

Monday, May 14, 2007

The Car

An old fragment from an unfinished story that sort of works as a story, at least in the context of a blog.



Thalia was a little late getting away this morning; she'd already called in to say she'd be there soon. Coming in from the west end the city looked warm and alive, it was so sunny out. It was still only March but already the snow was gone. There was green visible between the buildings and in the ravines, and big pools of water on the flat roofs that reflected the blue sky. She couldn’t see anyone in heavy winter clothes to wreck the illusion. She tried to read a magazine, but rapid shapes of sunlight kept flashing off the pages and hurting her eyes. When the train dipped into the underground stations, she gave up trying to read and just stared at the ground.

They crawled through one tunnel, so slow Thalia could look out the window and see blue chalk marks on the wall. They slowed and stopped in the next, but only for a half a minute or so. Finally, in the next tunnel, the train stopped for good. Thalia thought again that if she hadn’t stopped to buy the magazine, she might have got on the previous train and avoided all this. Maybe that one was stopping, too. Maybe the whole system was fucked, and every train was trapped in a tunnel.

Thalia couldn’t get used to the time it took to get to work. She was used to thinking of herself as living pretty much in the thick of it, but the thirty or forty minutes she spent nodding and yawning on the train had destroyed this image. She and a friend had shared a car when they’d both first moved downtown, years ago. Their offices were close together – less than a block apart – and her friend got free parking where she worked, so it was perfect. The car was used, a pale blue compact they’d bought off somebody who was leaving the country.

“As is,” the guy selling the car told them. “It’s kinda lived-in.”

“Who lived in it?” Thalia asked, deadpan.

“No, I mean, it’s pretty lived-in, not… it’s kind of beat up inside.”

“I was joking.”

She didn’t say much else while they were looking at the car, or when they came back with the cash.

Even after they’d had the car for a few months and had cleaned it out, they still found peanuts and Smarties in the folds of the seats and beer caps under the carpeting. The floor was pocked with cigarette burns. They covered the back seat – which was dying from a dozen lateral slashes from a knife or a tool – with a quilt that used to belong to Thalia’s cat. She’d bleached it heavily to kill the smell of cat-piss: it looked as though there were clouds of frozen steam covering its surface.

They never came up with a funny enough name for the car, but they both liked to pretend it had a personality that only they could detect. They would send silly emails to each other throughout the day, commenting on the car’s mood that morning, imagining various pasts for it. They competed to find the ugliest air freshener to hang from the rearview mirror. The winner, hands down, was the raw pink set of over-sized tits that smelled like strawberries. Thalia had found it in a joke store. It sat in the glove compartment with the other joke fresheners, under a map and some paper, never hung.

The arrangement worked beautifully for almost three years until the car started shuddering and dying at stop lights – at first just once in a while, then on every other trip. It stranded them in the middle lane more than once and wouldn’t restart for minutes at a time. They had to stay off the busier streets.

“I’m not paying for repairs,” Thalia announced. “I think you should cover it.”

“What for? It’s both of our car!”

“Yeah, but you took it to your cottage a couple of times. And you drove up to your parents' a bunch of times with it.”

“So?”

“So? It was supposed to be just for work and around the city. It’s an old car: probably all the long-distance driving is what’s wrecking it.”

They fought about it for a week, while the car sat like a shamed dog in the small lot behind a mutual friend’s apartment. Thalia refused to return her friend’s calls and wouldn’t answer her emails, except to bluntly repeat that she wouldn’t help pay for the repairs. The mutual friend attempted to negotiate peace between the two, but Thalia yelled at him over the phone, saying that the two of them were ganging up on her and trying to make her the bitch.

“Well, you are kind of being a bitch,” he said, and she hung up on him.

Finally, her friend gave up and took the car in to be repaired. When she got it back a week later, she called Thalia.

“It was just something with the fuel line,” she said, sheepishly. “The guy said the rest of the car’s pretty solid, so we shouldn’t have to worry about it for a while.”

“So?” Thalia said, as hard and as cold as she could.

“So… it wasn’t that expensive in the end. They hardly had to do anything. So it’s cool.”

“So?” Thalia said again, angry that her friend wasn’t taking her seriously. She felt as though no one was listening to her – the bill could have been for five dollars, she wasn’t going to pay it. Finally, she demanded that her friend buy out Thalia’s share of the car and take it all for herself. “That’s the way you’ve been using it, anyway,” she said.

Over a series of bitter phone calls, she brought out every minor grievance she’d collected against her friend, every petty annoyance, shedding more of their friendship with every call. By the end of it, her shattered friend gave Thalia exactly half of what they’d paid for it. Thalia insisted she mail her a money-order for the full amount, and she did, without complaint.

In the six years that followed, they only spoke a few times – mostly awkward meetings on the subway or in bars. They attempted one reconciliation, meeting up for lunch on an outdoor patio downtown. The two had joked and brought each other up to date on the shit that had been happening in their lives and in their jobs, but when the other woman started to talk about their broken relationship, Thalia went cold, as if her friend were a tenacious sales rep, pulling out for the millionth time the unwanted samples and brochures and price lists.

Since then, Thalia had heard that her friend had had a little girl and was living with someone in Montreal. She thought about sending something, a gift or some baby clothes, and for a few weeks she fingered the rows of bright, congratulatory cards whenever she was in a drugstore. But in the end, she did nothing. The card she did buy stayed blank inside and got slowly shuffled in with the junk mail and old photos in her front hallway. If Thalia saw her friend’s mother she would greet her warmly, ask her to pass on a hello, and get again her friend’s new phone number.

The official history of their friendship got sanitized and relegated to a back room of her mind, along with a few token objects – a funny T-shirt, a wine-bottle candle they’d made as a joke and never lit, the crazy singing toy they found in Chinatown. Her memories got debriefed: the end of the friendship was a sad but inevitable thing, something brought on by mere time and circumstance. Thalia still had a photo in a magnet-frame on her fridge of the two of them at a party, and she got a little sad whenever she noticed it. But none of this was connected to the fight over the car, the wistfulness never mitigated her sense that she’d been fucked around and was right to act as she had. It was as if the fight had been with someone else entirely, some treacherous stranger.

She even complained a lot about having to take the subway to work after driving in for so long, the car another phenomenon that had passed from her life for reasons unknown. The extra keys on her chain were mysterious keepsakes, something from her past she could finger half-interestedly, like the crater-shaped inoculation scar on her shoulder. It was all far away, on another planet from where she was now, encased in this dead train, its thin hull painted over with an ad for a movie.

Sunday, May 13, 2007

Teaching history backward

Tucked into this story about a history teacher getting fired for showing his students the HBO documentary Baghdad ER is an idea that is so simple and brilliant I can't believe it hasn't already toppled the reigning standard: teaching history backward. You start with current events and situations, which students are most aware of and most interested in, then work backward to show how these all came to be.

Obviously, there is potential for some "controversial" reverse-timelines – say, of the Iraq War and the U.S.'s relationship with Saddam Hussein – but then, those subjective interpretations exist in forward-running history courses, they are just masked.

More on the idea here and here.

Thursday, May 10, 2007

Arbeit macht Langeweile

The people you work with are people you were just thrown together with. You don’t know them, it wasn’t your choice. And yet you spend more time with them then you do your friends or your family, but probably all you’ve got in common is the fact that you walk around on the same bit of carpet for eight hours a day.

(from here.)
I am up to my ears, so please go read DJ "Readin' Skillz" Taylor on the relative absence of work in fiction. (Also read Alex Good on the same subject.)

Taylor writes "that the novelist's real problem is how to dramatise boredom." (Auden saw that reality not an obstacle for a novelist, but rather as part of his solemn duty.)

This is resonating with me, because part of what is keeping me busy at the moment is, well, work, but also trying to finish the polished draft of a novel (see link at right) that features, among other things, many scenes of people at work and in various states of boredom. It's a tricky thing, to depict tedium and frustration and states of unproductive distraction without making the depiction itself tedious, frustrating, and unproductively distracted.

I'm not entirely sure I have always pulled it off.

But at the very, very least, no one in the novel is finding letters in an attic, or struggling with philosophical/ideological/aesthetic questions that were pretty much settled a century ago, or spending 400 wasteful pages seeking out the slimmest margins of middle-class nonconformity, or Zeliging their way through the Great Moments in History.

Which is something.

Or so I keep telling myself.

Tuesday, May 08, 2007

"Everybody sound the same, commercialize the game/ Reminiscin' when it wasn't all business"*

Until the early 1990s, a Canada-wide network of independent bookstores made it possible for a well-received small-press short story collection to sell 700 to 1000 copies, and sometimes more. Today the omnipresent outlets of Chapters-Indigo make it possible for a well-received small-press short story collection to sell 250 copies. But if Chapters-Indigo is the disease, the Giller Prize is the symptom. Nothing signalled the collapse of the literary organism as vividly as the appearance of this glitzy chancre on the hide of our culture. - Stephen Henighan, "Kingmakers," Geist 63

... we are currently living through the dismantlement of Canadian publishing. Evidence supporting this view is not in short supply. - Henighan again.

There used to be a time when publishers (though traditionally reviled by writers) were educated, literary people with a love for books. If they made money from their authors—and several did—it was more a question of happy chance than ruthless method. But since the 1980s, publishing companies, bought up by large international corporations, began to apply industrial methods to the making and distribution of books. Having discovered that books are sold and bought, these entrepreneurs reasoned that books could be bought and sold like any other artifact, from pizza to sports cars. - Alberto Manguel, "Idiot's Fare," Geist 63

We live in a period when, for better or worse, most of the realities of publishing and bookselling are being transformed in order to conform to the demands of money. Editorial lists appear and disappear, books are published in enormous quantities with huge promotional campaigns only to be pulped into oblivion, publishing conglomerates come into existence or suddenly vanish. The reason is always the same: money and profit. - Matt Cohen, Typing: A Life in 26 Keys (Random House Canada, 2000)

Money, and Prizes. Prizes proliferating. And along with them the manufacturing of celebrity by the manipulation of publicity budgets. Literature metamorphosing into Show Biz. - John Metcalf, An Aesthetic Underground (Thomas Allen Publishers)

Literature used to be about literature. Now it's about money. - Steven Heighton, quoted in An Aesthetic Underground.

On other hand:
My stance on huge advances is very simple: I would like one, please. The politics of money, the role of it in publishing, the effect on out literature – all of these are issues that pale in comparison to what this kind of money means to a writer. It means freedom. If it makes you a lesser writer, or creates a media tempest, or makes readers think Canadian writers are being bought and sold – these are other problems. A writer with money has the basis of a life of writing, which is the goal, I think. - Michael Redhill, quoted in The Notebooks: Interviews and New Fiction from Contemporary Writers (Anchor Canada)


* Nas, "Hip Hop is Dead"

(For more on the good old days, go here.)

Saturday, May 05, 2007

Harland Miller's big penguins

Here's a thing in the Guardian about Harland Miller, an author and painter who, in his painterly guise, creates huge covers for non-existent Penguin/Pelican classics, including Hemingway's I'm So Fucking Hard and D.H. Lawrence's Dirty Northern Bastard.

Miller is interviewed here by Jarvis Crocker Cocker, who starts off sounding like a parody of a pseudo-intellectual rockstar dimwit ("Oh yeah, I've written about Sheffield. 'Sheffield, Sex City' - a title as inappropriate as some of yours. I suppose, whether you like it or not, you are formed by early experience. Have you made a painting about Sheffield?"), but who mostly calms down and lets his subject do the talking.

I liked this, from Miller:
I think much sociopolitical art delivers truisms that are quite flat. I saw something recently that read "Men and women are equal", and then "Like hell they are!" People tend to read something like that in a gallery and nod, as though the act of agreement makes them kind of active in the debate, when it's more that they - the converted - have been ... not enraged so much as assuaged. Because they agree. There's no dialogue in that.
Which, I guess, a lot of people will read and nod, as though the act of agreement makes them kind of active in the debate, but it's good to see it put so plainly.

Friday, May 04, 2007

Smooth like butter

Jacob Richler has apparently left his position as snob-at-large at the National Post – maybe someone offered him a reheated sausage roll and coffee in a styrofoam cup last time he went into the offices, and that was it.

But Jake's impeccable taste-buds have found a new home at Macleans magazine. And if you are worried that some of his prattishness may have been lost in the move, don't.
Yes, it seems like only last year it was good enough to pick the unsalted Lactantia over the salted. But if you had stopped by my place last week and swung open the overladen fridge door you would have found seven different flavours on hand, every one of them packing more flavour and more fat than yours, some locally produced, some from Europe, and two of them illegal, unpasteurized stuff smuggled in from France hidden under a pallet of Camembert, as if it were smack -- although in my experience the contraband from Normandy is far more addictive.
Precious? Check.

Unnecessarily expensive? Check.

A little greasy? Check.

(Oh, I mean the butter, of course.)

Wednesday, May 02, 2007

Killer reads

Tangential to this piece in The Times on the idea of books inspiring killers, I give you this, Ricky Gervais on Hitler's misreading of Nietzsche:

    A very subtle and funny writer - one I've become obsessed with over the past year - in a decidedly Muriel Spark mood. Imagine The Pr...