Arts Reviews

If there was one character who was omnipresent in the Marvel comic books universe, it was Stan Lee. Lee, who died on Monday, defined an exuberant, confident American era that seems to have vanished along with him. A member of the World War Two greatest generation, he played a decisive role in making comic books great again, starting in the 1960s, when he sought to reinvent the moribund genre with characters who bickered with each other when they weren’t worrying about their love lives. [caption id="attachment_10404225" align="alignleft" width="269"] The Amazing Spider-Man #18[/caption] Gone was the sterility of DC’s Superman, a paragon of perfection, to be replaced with ironic detachment and human foibles. Sometimes heroes were scared.

The truth hurts, and the standard of truth in war reporting requires eyewitness accounts of suffering and death. Marie Colvin of the Sunday Times of London, killed at Homs, Syria in 2012 in a targeted bombardment by Assad’s army reports, was the most accomplished war reporter of her time, and saw more war than most soldiers. Matthew Heineman’s A Private War, with Rosamund Pike as Colvin, is a cruel and haunting study in compulsion — the compulsion to tell the truth, the compulsion to live near death, and the compulsion to repeat the experience until death gets too near.

The White Album is one the greatest works of 20th century art, executed by the greatest exponents of the 20th century’s greatest popular and unpopular art: pop music. Which is why connoisseurs of this work of high magik know that there is nothing new to say about The Beatles, which, as everyone also knows, was The White Album’s official title. The minutiae of The Fabs’ mind-boggling State Of The Universe address from 1968 have been dissected and analyzed so completely that armies of middle-aged divorced male White Album necrophiliacs now roam the pub and bars of the West, clashing over the rallying cry, ‘But should it have been a single album?

We are so plagued by experts and inundated with know-it-alls that the popular reaction is to turn out the technocrats and embrace the know-nothings. A cynic might wonder if Axios, the political website that promises to cover issues with a series of bullet points totaling no more than 300 words, is a technocrat’s way of heading off the know-nothings, if only by ensuring that the people who still believe in expertise know a little. Brevity might be the soul of wit, but is it the meat of political analysis? Axios describes its info-gobbets as ‘smart brevity.’ Like smart foods and smart phones, this means pre-digested information, shot out in hard, pre-formed pellets. Axios offers smart conclusions, delivered with digital smartness.

It could just be, two years on from the election of President Donald Trump, liberal America is finally arriving at the fifth of the seven stages of grief, the one characterised by guilt. I realised this over the weekend as I watched Bill Maher, self appointed voice of the liberal conscience, delivering some hard to hear home truths to the faithful from the pulpit of his primetime chat show. Citing a recent survey, Maher told his audience: ‘Eighty percent of Americans find political correctness to be a problem, including 75 percent of African Americans, 74 percent of Americans under thirty, 82 percent of Asians, 87 percent of Hispanics and 88 percent of Native Americans.

When Barack Obama visits Atlanta on Friday, followed by Donald Trump in Macon on Sunday, the transformation of Peach State politics will be complete. Not too long ago, candidates here in Georgia stuck to local issues, particularly if they were Democrats burdened by the national, more radical version of their party. No longer. Georgia’s most competitive gubernatorial election in years has been thoroughly informed and powered by national politics. All public polls suggest a narrow margin when the votes are counted next Tuesday, and perhaps a runoff, with much depending on the showing by Libertarian candidate Ted Metz. Privately, the signals from both camps indicate momentum is swinging toward the Republican, Brian Kemp. Still, GOP loyalists seem more optimistic than confident.

Kanye West is perfect. Every time I think he can’t go up in my estimation, he does something more magical. Last night, having established himself as the most important political figure in the free world, he decided the time had come to find new worlds to conquer. ‘I am distancing myself from politics and completely focusing on being creative !!!’ he tweeted, out of the blue. https://twitter.com/kanyewest/status/1057382916760707072 And this not three weeks from the Oval Office audience he gave President Donald Trump, an occasion at which he, brilliantly, chose to communicate only through free association – oscillating at a frequency barely within the realms of human comprehension.

Il disegno di Michelangelo e il colorito di Tiziano: The drawing of Michelangelo and the colour of Titian. With these words, supposedly written on his studio wall, Jacopo Tintoretto staked his claim on cinquecento painting. We are lucky he failed on both counts. Tintoretto was no Michelangelo or Titian, but he could push paint like no one else in La Serenissima. Renaissance means ‘rebirth’, of course. Yet the paintings of Tintoretto can come as deadly shock. His ‘Crucifixion’ of 1565 in Venice’s Scuola Grande di San Rocco strikes like a thunderbolt. The painting is also the single best work of religious art in the Italian Renaissance. With Christ fixed to the cross front and centre, the action of this composition swirls around him like a dark cyclone.

The Old Man and the Gun is a second farewell to film for Robert Redford. His first farewell, All is Lost (2013), made occasionally heavy weather of allegory on the high seas — the lone American yachtsman, asleep in his cabin despite the storm warning of 2008, springs a leak when his boat collides with a Chinese shipping container. This time, Redford is back on American soil, and on familiar ground, as the geriatric bank robber Forrest Tucker. After an allegory about the old man and the sea, the myth of The Old Man and the Gun. In Oklahoma in the early 1980s, Forrest meets the widowed Jewel (Sissy Spacek) when her car has broken down and his is being pursued by the police.

On Tuesday, after a six-month long poll in which four million Americans voted, Harper Lee’s To Kill a Mockingbird was voted the US’s best-loved novel. Mockingbird is so often at the summit of such polls or described as a book ‘every adult should read before they die’ that another win is no surprise. Lee, who stopped writing fiction and giving interviews almost as soon as the novel became a phenomenon, struggled for the rest of her life with the scale of its success. First published in 1960, as the civil rights movement hit its stride, Lee’s anti-racist novel has been handcuffed to liberalism for the last 50 years. An uncharitable reading of Mockingbird would see it as a childishly progressive fantasy.

In January 1882, a still little known 27-year-old called Oscar Wilde began his year-long, coast-to-coast, 15,000-mile grueling lecture tour throughout America. The ostensible purpose was to publicise the US tour of Gilbert and Sullivan’s Patience, whose precious aesthete Bunthorne — ‘what a very singularly deep young man this deep young man must be!’ — was partly based on Wilde. The real motive was to advertise himself and become a celebrity while searching for his true sexual identity. Victorian men had to hide their homosexuality, but Wilde found a way to flaunt his real feelings. Wearing a theatrical costume while behaving outrageously on stage, he used his ambiguous sexuality to provide entertainment.

Imagine Quentin Tarantino with a conscience, or even a historical consciousness. It’s easy if you try, as a rich junkie once sang, even if Tarantino never bothered to remove the quotation marks from every scene, as if life was all reference and no reality. Then imagine the film noir, that moral grisaille of the Thirties where everything comes in shades of gray, pulled into the technicolour Sixties, so that the fabrics are bright but the morals are polarised into good and evil, black and white, with darkness all around, and above us only sky.

We are here, to feast on the fabulous, lavish, ludicrous, deluxe and delightful 50th anniversary reissue of the Kinks undisputed 1968 masterpiece, The Kinks Are The Village Green Preservation Society. In the United Kingdom, home to a royal family appointed by God who live in various castles; five-day cricket matches, football hooligans, innate conservatism, quiet revolution, natural surrealism, and cider that tastes of dead rats; drunkenness, habitual racism, suspicion of everything, Victorian politicians, a never ending empirical hangover, delusional grandeur, white sliced bread, drizzle, and endless doubles entendres – and this is just the good stuff ­– it is, to all intents and purposes, illegal to not like The Kinks.

TV networks will be waiting with baited breath to see how the Roseanne spin-off and sequel The Conners — why does the ‘e’ in the name irritate me? — performs this evening for ABC. No doubt there’ll be considerable rubber-necking interest, which will see a healthy audience for the first episode. But that will be because of the void left by the absence of Roseanne Barr. Like Banquo’s ghost to Macbeth, Barr’s non-corporeal presence will be difficult to ignore. The manner of her departure will be in many viewers’ minds, too. This isn’t the first time that the sudden loss of a lead actor in a hit series has resulted in broadcasters or platforms having to consider whether to carry on or call it a day.

‘Book-writing is hard on the brain and excruciating to the body,’ Anthony Burgess wrote in 1968. ‘It engenders tobacco addiction, an over-reliance on caffeine and dexedrine, piles, dyspepsia, chronic anxiety, sexual impotence.’ Look at Willy, to use the nom-de-plume of the Parisian rake Henry Gauthier-Villars, in Wash Westmoreland’s Colette. Willy has his name on novels, short stories and reviews. He flatulates and eructates. He smokes cigars and, this being the 1890s and dexedrine having yet to be synthesised, drinks coffee and spirits round the clock. He is constantly stressed by an energetic routine of dodging his creditors, cheating on his wife, and contriving new stories to keep the money coming in. Eventually, he’s sexually impotent too.

When the West’s Days of Reckoning came in 2016, we naturally turned to George Orwell, master of modern dystopia, to make sense of Trump, Brexit and the return of the far-right in Europe. We took to the streets — or rather Twitter — crying, ‘It’s just like 1984!’ Dystopia had made a comeback. We lapped up The Handmaid’s Tale, Black Mirror and Blade Runner 2049 with gleeful horror. Our concern shot Orwell’s novel to the top of Amazon’s chart. These are cautionary tales for dangerous times. Stories of science-fictional wastelands, malevolent totalitarian governments and vengeful AI that warn us of what we might become. Yet we often ignore Aldous Huxley’s Brave New World. This is curious.

You won’t be aware of this because the BBC has been keeping it very quiet. But the new Doctor Who is — wait for it — a woman! Let me say straight away that Jodie Whittaker is a delight. Opening as the new Doctor is never easy — all that tiresome establishing rigmarole you have to go through along the lines of ‘I’m feeling all funny. Almost like I’m a completely different actor but in the same body. What can it be? Who am I? Has anyone watching at home worked it out yet?’ But already we like her. Yes, at the moment she’s still a bit of a mishmash of previous Doctors but this will change as she grows into the role.