Books and Arts Archives

Tuesday

December 20, 2022

An ingloriously dumb adaptation

There’s always been a market for nostalgia. Keats, the huckster of Greek glories, put it best: “Heard melodies are sweet, but those unheard are sweeter.” But the peculiar achievement of Lester Bangs, the cantankerous rock critic played by Philip Seymour Hoffman in the film Almost Famous (2000), is to sell us some self-confessedly unsweet music. True rock and roll, the Bangs character tells us, is “gloriously and righteously dumb” and could suffer no worse fate than to become an “industry of cool.” Of course, by his lights, the golden age has passed; all that remains is “the death rattle, the last gasp, the last grope.” If nostalgia is a drug, he has mainlined the stuff. What are you on, man, and where can I get some?

William Newton

Edward Hopper’s America

With a new show at the Whitney, Edward Hopper’s New York; a new documentary film from director Phil Grabsky, Hopper: An American Love Story; and a recent exhibition organized by the Virginia Museum of Fine Arts and the Indianapolis Museum of Art, the work of one of the most popular yet seemingly inscrutable American artists of the twentieth century is receiving a great deal of renewed attention. In his paintings, Hopper’s hard-edged realism, impressionistic plays of light and passages of intensely saturated color compete for attention. What has always captured the public imagination is the relative isolation of the figures that appear in his work. Search for articles about Edward Hopper online, and many will describe his art as an exploration of loneliness.

Art Tavana

Cleopatra still dazzles sixty years later

It’s a dazzlingly staged event that evokes the ancient theater, Italian operas, elaborately choreographed Busby Berkeley films and an open-air spectacle on par with WrestleMania at Caesar’s Palace. I’ve watched it knowing that as a small boy, I tugged on my mother’s blue jeans and asked a question informed purely by cinema: “Is Cleopatra the most beautifulest woman in history?” “No,” replied mother, with a cigarette stuck between her clenched teeth. “Elizabeth Taylor is.” I was, of course, picturing Elizabeth Taylor as Cleopatra. The event I’m referring to isn’t mere cinematic overindulgence; it is a monumental moment — six decades after moviegoers first saw it — which transforms a movie star into a deity.

Monday

November 21, 2022

The Spectator

The Spectator’s 2022 Books of the Year

William Boyd Writing effective comedy is very difficult. True comic genius, the ability to create a unique tone of voice — deadpan, perfectly timed, self-deprecating, abjuring all whimsy (the British disease) and grandstanding — is extremely rare. One thinks of S.J. Perelman, Peter de Vries, the Grossmiths and P.G. Wodehouse amongst very few others. One name that can be added to this tiny and exclusive club is Theo Fennell who has published, this year, his memoir I Fear For This Boy: Some Chapters of Accidents (Bloomsbury, $35). It relates incidents in Fennell’s life where everything that could go wronnd Catholic Churches as he veered between them.

Dan Jones

The return of Cormac McCarthy

After sixteen years of silence, Cormac McCarthy has literally written a novel and a half. That’s the good news. Perhaps less-good news is that about half the longer novel depicts conversations between a mad person and an imaginary deformed imp called The Thalidomide Kid, while all of the half-novel is a dialogue between the same mad person and her psychiatrist. The unequivocal bad news is that quite a lot of both is about quantum physics, by way of ruminations on the Manhattan Project and a JFK conspiracy theory: an unholy trinity of literary red flags. I do not mean to dissuade anyone from reading a rare new work by one of America’s finest living writers. Parts of The Passenger and its “coda,” Stella Maris, are very funny. Parts are even brilliant.

Lisa Hilton

Think autofiction is easy? Think again

"No, Lisa." As rejection letters go, it was admirably concise. I’d made an attempt at “autofiction,” that amorphous genre which inhabits the space between autobiography and fiction, and this was the entirety of my editors’ response. Any writer who has been at it for any length of time will have received Dear Johns from publishers, but is two words a record? It was something to cling to, at least, during the five further years it took for the book to find a home. Eventually, a French house took it, and Les Femmes de mes amants staggered unobtrusively into print in June this year. Obviously, I should have set my sights on Paris from the first.

Zoe Strimpel

Joyce Carol Oates, a woman for all seasons

Midway through my conversation with the eighty-four-year-old Joyce Carol Oates, one of the most prolific writers America has ever seen (fifty-eight novels, plus plays and children’s books), and now one of its more unpredictable tweeters, with over 226,000 followers, I ask what it’s like being having been one of the country’s “major” literary figures for so long. Oates’s classic 1966 short story “Where Are You Going, Where Have You Been?” about the kidnap and possible murder of a sixteen-year-old girl, and her 1992 Pulitzer-nominated novella Black Water demonstrate her grasp on the dark side of the twentieth-century American psyche.

Mario Naves

Murillo the masterful

Murillo: From Heaven to Earth, an exhibition at the Kimbell Art Museum in Fort Worth, Texas, is, at its core, a cunning display of institutional braggadocio. How much better to amplify a mainstay of the permanent collection — that would be “Four Figures on a Step” (c. 1658-60) — than to mount a show dedicated to the artist responsible for it? “Four Figures on a Step” is, if not Murillo’s masterpiece, then a distinctive painting all the same. It is distinctive because it is odd: though attempts have been made to peg the image as some-or-other lesson in morals, the canvas has consistently resisted explication. The title, a bland descriptor superimposed by an outside source, points up how the picture’s thematic basis remains firmly contained within its own peculiar logic.

Art Tavana

The shock value of Lena Dunham

I'm watching Girls. Hannah (Lena Dunham) is tweeting in her bedroom: “My life has been a lie, my ex-boyfriend dates a guy.” She deletes this and types: “All adventurous women do.” She stands up, shakes her hair, swings her tattooed arms and dances to Robyn’s “Dancing on My Own.” I was this person once, I think to myself, as another girl (Marnie) walks into the room and laughs maniacally as the two discuss the shocking reveal that Hannah’s boyfriend, Elijah, is gay (“he seemed gay”). They dance together like white girls on Ellen. I tweet the video: “White girls with tote bags.” I realize that what felt relatable in 2012 now comes off like a camp-cringe spectacle that’s oblivious and dumb. It’s shocking. It’s perversely millennial.

Ross Anderson

The return of Lindsay Lohan

Falling for Christmas has a ridiculous logline: “Newly engaged, spoiled hotel heiress gets into a skiing accident, suffers from total amnesia and finds herself in the care of a handsome, blue-collar lodge owner and his precocious daughter in the days leading up to Christmas.” The Netflix romp is notable only as it marks Lindsay Lohan’s return to a genre that made her famous. “It’s such a refreshing, heartwarming romantic comedy and I miss doing those kinds of movies,” Lohan told Netflix, in earnest, while describing her character as, “Extravagant. Temperamental. Glamorous.” You could build a campy slasher flick or porno off such plot scaffolding; none would be great cinema. And yet Falling for Christmas is more complicated than that. Why?

Alexander Larman

David Bowie is bigger than ever

On Sunday, November 10, 1991, the band Tin Machine played a gig at Brixton Academy in south London. Brixton then was far from the gentrified area it has become; it remained a hotbed of simmering social and racial unrest. The notorious riots of a decade before were still a recent memory, and those who ventured to the Academy did so in the knowledge that fights and aggravation were highly likely, especially after alcohol had been consumed. But if on-street scuffles were a price that gig-goers had to pay to see their musical idols, the world of Tin Machine was a much less happy one. At the beginning of the Nineties, David Bowie had to consider, for the first time since the success of the single “Space Oddity” in 1969, that he might be a spent force.

Sunday

October 23, 2022

Anne Sebba

The prodigal daughter

In April 1930, the nineteen-year-old Edda Mussolini married Count Galeazzo Ciano, aged twenty-seven, after a brief courtship in which love appears to have played little part. Her father, Il Duce, wanted the magnificent occasion to be not merely the wedding of the century but a grand, almost royal, demonstration of fascist might and a celebration of fecundity. Edda, his beloved firstborn, was to stand for everything that was best about fascist womanhood, while the groom was to carve out the path of “the new Italian man.” These were the glory years, and thousands of schoolchildren sent poems and cards with angels in advance of the occasion, which the Papal Nuncio attended with a present from the Pope.

Alexander Larman

Nick Cave’s musings on life, death and creativity

The musician, novelist and occasional ceramicist Nick Cave is the most literate of that often-decried breed, the rock star. Over the course of a forty-year career that began with the raucous punk act the Birthday Party and continues to this day with the Bad Seeds, in addition to eclectic solo and film-scoring work, he is restlessly innovative. Not only has he written countless lyrics that approach Dylan or Cohen-esque levels of profundity, but he has written film screenplays, novels and even a loose collection of musings about life on tour, The Sick Bag Song. Yet he shows no interest in writing the autobiography that many might have expected from him.

D.J. Taylor

The bookish life of John Carey

One of the most revealing moments in Sunday Best — a collection of book reviews dating back to the late 1980s — comes when John Carey, invited to appraise some items about Robert Graves, remembers hobnobbing with the author of I, Claudius half a century ago in Oxford’s High Street. Instantly, two of Carey’s signature marks — his love of literature and his eye for personality — come crashing together. Graves, then in his late seventies, tall, craggy and mage-like, is still a “commanding sight.” The drawback is his conversation: from the great poet’s lips, “in disconcertingly loud, upper-class tones, issued a bizarre stream of superstition and bogus history.

Anna Gát

Living one’s best life

In our era of Twitter hot takes and Medium listicles promising to make you millions, I have a soft spot for life-wisdom books, meditations of the old school that you can spend quality time with even when the ideas presented in them are timeless. I’ve read with pleasure the popular life guidance books of the past decades, from The Happiness Hypothesis or Letters to a Young Contrarian to Zena Hitz’s quietly transformative Lost in Thought, and I felt a renewed connection with the ancient questions of existence in a modern retelling. It should be the habit of all widely read thinkers, whether coming from STEM, the humanities or the social sciences, to sit down and write an accessible recap for all of us of what they have found out.

J. Grant Addison

A comedian explains how to quit social media

James Acaster’s Guide to Quitting Social Media presents itself as a “how-to” or “self-help” manual. But it's actually a 272-page stand-up comedy special. It’s no surprise that a stand-up comedian would write a comedy book — indeed, this is Acaster’s third trip to the literary well — but it’s nevertheless striking how fully the Kettering-born joker commits to the routine this go-round. His new Guide to Quitting Social Media reads like it was meant to be performed on stage. It’s a return to the signature style Acaster became known for following his breakout special Repertoire in 2018. The Netflix collection was filmed in one week and features four distinct, one-hour comedy routines that build upon and call back to each other.

Mario Naves

Dawn party

What a difference a century makes. That’s the upshot of At the Dawn of a New Age: Early Twentieth-Century American Modernism, an exhibition at The Whitney Museum of American Art culled from its own holdings. In-house ventures can sometimes come off as so much house-cleaning, an opportunity to air out the storage racks and take stock of inventory. Which is, in fact, exactly what Whitney curator Barbara Haskell has done. But by adding select loans from other institutions and private collections, she’s put together a show that has its own Gestalt. Though the fervor of artistic innovation has a limited shelf life, the work on display here continues to radiate a klutzy, almost childlike audacity. There’s a naivete at the heart of At the Dawn of a New Age, and it is winning.

Franklin Einspruch

A chronicler of enormities

The Farnsworth Museum of Art, subject to New England winters up in Rockland, Maine, and consequently confined to a shorter calendar than most museums, made one of the bolder institutional decisions in recent memory: devoting part of its precious summer schedule to showing prints about the Holocaust. Moreover, these are the sublime and horrifying woodcuts of Leonard Baskin (1922-2000), executed in the last years of the artist’s life, which he spent contemplating the ravenous appetite that Death has for the Jews. Baskin was not to everyone’s taste, and the feeling was mutual. The critic Hilton Kramer called him a “macabre sentimentalist,” and that was only to denigrate the other artist he was reviewing at the time.

William Newton

The buildings Richard Nickel championed

Perusing the listings of a recent auction, I noticed an intriguing, relatively flat piece of copper-plated cast iron featuring intricate foliate and geometric designs. It was a baluster designed by the firm of Adler & Sullivan in 1893 for the old Chicago Stock Exchange. The 1972 demolition of that building, thanks to the “urban renewal” undertaken by many progressive American cities during the mid-twentieth century, led to this bit of architectural salvage coming up at auction many years later. It also led to the death of an idealistic photographer and activist named Richard Nickel. When Nickel (born in 1928) was killed on April 13, 1972, his body was not recovered for weeks.

Hannah Long

The heart of The Rings of Power

“Ours was no chance meeting. Not fate, nor destiny,” Galadriel says. “Nor any other words Men use to speak of the forces they lack the conviction to name.” The line is a bit pompous, but then so is the hotheaded elven warrior (Morfydd Clark) who speaks it in Amazon’s Lord of the Rings: The Rings of Power. Pomposity aside, Galadriel’s words reveal why the work of J.R.R. Tolkien is unique in a crowd of fantasy competitors. Anyone can give us elves and dragons and wizards. But few can match the anguished, longing note of hidden Providence in Tolkien’s Middle-earth. The Rings of Power has not yet achieved such depths of feeling — perhaps it will not be capable of doing so — but it has shown prudence in its stewardship of the story’s heart, which is encouraging.