I’m writing something introductory (intended for a general audience) about ‘themes’ in literature. Obviously my theme must be that the term is a bit hopeless until you say what you mean by ‘theme’. I’m thinking of introducing it with reference to memories of writing book reports in 6th grade (I think it was.) Mr. Lofton’s (?) class at McCornick Elementary. (Or was he my 5th grade teacher? Can’t remember.)
Anyhoo: it was requisite, on pain of getting no credit for your report, that you correctly check one or more box(es) for ‘theme’. There were exactly four options:
Man vs. Man
Man vs. Nature
Man vs. Society
Man vs. Self
That’s all there is, there ain’t no more!
(Sorry, ladies! It was the 70’s, and Ms. was a magazine, but you got no love when it came time for themes.) [click to continue…]
A couple weeks ago I was, as one does, declaiming selections from Erasmus Darwin’s poetry around the table, for the moral edification of the females present. I was explaining to the young daughters, in particular, how and why people were upset that Darwin poetized plants having sex all the time in The Botanic Garden, volumes 1 and 2. Especially volume 2.
The younger daughter: Oooh, fifty shades of green!
Adam Roberts has been fighting the good fight, keeping blogging real. He’s been reading his way through H.G. Wells’ collected works so you don’t have to. You can just piggy-back along for the ride. But all good things must end. He just published the post for Wells’ final work, Mind At The End of Its Tether. I’m no Wells scholar but I actually had read that one. It’s astonishingly pessimistic. Nigh-Lovecraftian. And it isn’t even supposed to be fiction. It’s what Wells was feeling in his last days. Here is the book’s opening: [click to continue…]
There is an inherent risk that any degree of analytic subtly and investigative archaeology breeds ethical over-sensitivity, in a case like this. It isn’t scholarship if it doesn’t bring to light something a reasonably intelligent, moderately informed reader might miss. It isn’t dangerous to tender young minds if it sails over their heads. No 5-year old is going to notice the Cat owes a visual debt to minstrelsy, much less that Dr. Seuss apparently took some visual inspiration from a white-gloved African-American elevator operator named Annie Williams. Who knew? If that’s the concern, maybe it’s not much of one. (Not in the same league as giving a slightly older kid an original edition of Charlie and the Chocolate Factory with the original, racist Oompa-Loompa illustrations. Here is Nel on the subject, some years ago.)
Since conservatives are super-hyper-sensitive to the risk that someone besides their snowflake-y selves might be even slightly over-sensitive, it’s pretty much impossible for Nel to broach his whole topic without ‘triggering’ the fainting couch set, be he ever so mild about minatory whispers in your shell-like.
But fair is fair: let me give an example of analysis and plausible harm wires maybe getting crossed. [click to continue…]
Normally I steer clear of Black Friday sordidity, but I’ve been on an art kick here on CT; and, it happens, I need new colored pencils. And the best are Prismacolor. And – lo and behold! – the big box [aw man you missed the sale] is half-price for the next five hours. That’s a good deal if you want to box with shadows in a practical sense. (They aren’t all grey. Just ask Monet.)
I’m reading a fun book, Shadow of a Mouse: Performance, Belief and World-Making In Animation, by Donald Crafton. The author is an animation historian/film studies scholar. I’m interested in the history but also – as is the author – the theory of animation ‘performance’. I’ll snip a nifty bit from Chapter 4, about the evolution of devices, conventions and styles for handling space. The author uses the evolution of the treatment of shadows as a nice hook, per his book title. [click to continue…]
I am a serious lover of, semi-serious scholar of (hemi-demi-semi-serious practitioner of) caricature. I’m here to deliver the goods.
Honoré Daumier is crowned 19th Century French master of this form. For so he is. But Gustave Doré, better known for his Dante, Bible and fairy tale illustrations, is as good, I say. The Internet Archive has a decent copy of Versailles et Paris en 1871, published in 1909. (Oddly, Wikipedia doesn’t even know it exists.) The Archive interface is ok, but this one needs a thumbnail gallery. Also, their PDF is messed up. So I made three Flickr galleries for the three sections of the book. First is “L’ Assemblée Nationale”. Next is: “La Commune”. Last is “Magistrature”. Then I realized I had nowhere to put the artist himself. Here he is. A Crooked Timber exclusive. [click to continue…]
I’m reading Lord Dunsany, The King of Elfland’s Daughter (1924). I’m also preparing to lecture on fantasy and fairy tales in my Science Fiction and Philosophy module (fun!) So I am pleased to find the following passage about the forging of the hero Alveric’s blade. The sword is made from thunderbolts, you see, dug up from a witch’s cabbage patch. (She lives in an especially thunder-prone mountain region. Nothing special about cabbage, apparently.) Thunderbolts are unearthly space metal knocked from the sky in thunderstorms. Science fact.
Nobody can tell you about that sword all that there is to be told of it; for those that know of those paths of Space on which its metals once floated, till earth caught them one by one as she sailed past on her orbit, have little time to waste on such things as magic, and so cannot tell you how the sword was made, and those who know whence poetry is, and the need that man has for song, or know any one of the fifty branches of magic, have little time to waste on such things as science, and so cannot tell you whence its ingredients came. Enough that it was once beyond our Earth and was now here amongst our mundane stones; that it was once but as those stones, and now had something in it such as soft music has; let those that can define it.
So there’s my epigraph for the chapter about the relationship between science fiction and fantasy, when finally I get around to writinbg it. Science fiction is like that sword.
The recurring series that’s actually pretty popular, dammit. Also I get sweet music recs every time. Otpup pointed out that the new LCD Soundsystem is great, and although they have only released three of the songs off the new album, I have been listening to them on repeat as I do my morning 1-hour hike that I do before the sun comes up because I am a person of unusual virtue and my life has changed and now I am up from the front end instead of from the other end if you see what I mean. Also it’s really hot when the sun comes up in Singapore. Of course, it’s so muggy before the sun comes up that I come home in a lather of sweat anyway, but hey. I see lots of old people doing tai chi in the park, and occasionally monkeys. Not doing tai chi, as far as I can tell. Otpup posted “Call The Police”, so here’s “Tonite.”
I’m not 1000% sold on The War on Drugs, but I’m warming up to it. And this song is great. Damn this dude must do a good Dylan cover though.
This is one of my favorite songs from The Clash’s Sandinista:
It’s strange in a way how like this the towers of Singapores HDB blocks look, in huge clusters, but neatly painted with graded hues on the brick ends, some blues, some reds, some yellows, all planted around with tidy gardens, all surrounded with new cars.
Sorry, there were much better photos but they maxed out the side of the blog. Anyway, this is in my neighborhood, so there’s that.
I have the Dukes of Hazzard lunchbox that appears in the video at 4:17 and carried it as a purse for a number of years, a choice I now regard as dubious.
Is there a name for the songwriting device of setting up an obvious rhyme and then not using it? Pavement is particularly inclined to this but there’s an example in LCD Soundsystem’s “Tonite” also:
Sure enemies haunt you with spit and derision
But friends are the ones who can put you in exile
In my last music post commenter Fats Durston recommended the Weakerthans “Plea From a Cat Named Virtue,” and it is totally awesome. Thanks, bro!
“I’m tired of this piece of string.”
The Pains of Being Pure at Heart sometimes do a The Smiths thing, but here I would say it’s more about The Only Ones. Or a combo? His voice is very like Peter Perett’s.
Sometimes I feel like bustin’ loose with Chuck Brown, Godfather of Go-Go.
Car Seat Headrest’s releae from earlier this year is still rocking me all the time, and further proves that literally anything can be a band name. Like, anything. (Plus fan-made video!) I feel that the outro is very early Brian Eno. Best quote “last week I took acid and mushrooms/I did not transcend, I felt like a walking piece of shit/in a stupid-looking jacket.” #relatable
What about y’all? You always have amazing suggestions and I listen to them all.
UPDATE: German punk band Slime’s “Viva La Muerte” is about the conquest of the Americas and it is so good.
Although maybe this anti-fascist song is more appropriate to the moment:
Death Cab For Cutie frontman Ben Gibbard released a kind of weird yet good? new album. “Oho so what!” you say. “I’ve always been meh on Death Cab For Cutie, Belle Waring, I’ll have you know.” I wish you would let me finish what I’m saying, ever! I agree. Anyway, it’s a song for song cover of Teenage Fanclub’s 1991 Bandwagonesque. This is cool as a concept album theme, and I have a soft spot for concept albums. Also, Bandwagonesque is a sublime album whose Big Star greatness was lost in the decade’s welter of grunge, so, why not cover it in its entirety? Gibbard put it this way to NPR:
“Bandwagonesque is my favorite record by my favorite band of all time,” Gibbard writes via email. “It came along at a pivotal time in my musical life, and I’ve loved it for over 25 years. It’s been such a blast taking these songs apart to see how they work and then putting them back together again.”
This is worthy-sounding but the weird thing is that he put them back together just the way they were put together in the first place. I mean, maybe there should have been new dovetail joints, or different instruments, or that part at the end of “What You Do To Me” where it fades out seconds before the end and then comes back could have been altered fractionally? The song which is changed the most is the opener “The Concept”, which he extended and made more shimmery and it is indeed a legit good cover.
However I am in a strange state of aesthetic suspension about the rest of the cover album. Is it good? I have listened to it more than once, which is a positive sign, but its main virtue was in making me listen to the actual album more? I haven’t really listened to it in ages BUT WHY NOT?!?? Now, it could be that I have deep-seated psychological problems and that’s why. Or that I have deep-seated psychological problems unrelated to my failure to listen to an album I really love for ages. That’s more likely actually. My psychiatrist would probably agree with that latter thing. ANYHOO. In short, the cover album is way too by-the-numbers, but the songs are so amazing, and his voice so well-suited to the harmonies that by some conservation of good music principle it is also good, I guess? (John likes it more than I, I think.) Additionally the production quality is a bit higher, so perhaps what I really want is a beautiful re-master.
I tried to explain/debate this problem with my brother in law but he has always been meh on Death Cab For Cutie and actually had never heard of Teenage Fanclub. So I asked him if he loved Big Star and he was fractionally slow in responding with some word that by the high questioning pitch audible just as he began aspirating was clearly going to be “well” or something like that so I said “nonononononononono. Nononononono.” You know, like a normal person would. He doesn’t love Big Star. That’s OK! Some people have a tiny chunk missing from their soul that–no, not that either; I guess some noble lovable folk just don’t love Big Star and I have to laboriously reconstruct my worldview now to accommodate this ill-shaped fact.
He actually attributed it to a well-known problem of not having listened to them as a young enough person to become truly obsessed ever. It’s not that he doesn’t ever like new music, he just doesn’t then sit there and listen to it endlessly on repeat, memorizing the lyrics, and crying slightly to himself. But nothing prevents you from doing this so I recommend it highly! Well, you don’t need to cry quietly to yourself–what if you aren’t emo like me the album is a real barn-burner after all? It’s true that there will probably never be music as emotionally important to you as music you listened to when you were 16 or 20 or whatever…but only probably. It varies from person to person. I recommend having various shattering emotional crises at different ages so the music you listened to obsessively then can pierce your heart with simultaneous love of music and hangover sadness at the same time! Wait, I’m not sure I do so unreservedly, but it does work. The real moral of the story here is that you should listen to Tennage Fanclub’s Bandwagonesque; Jesus it’s so good. And hey, the other is good too?
What about you guys? Do you have music you first heard when you were 35 that you love deeply? 55? Do you love Big Star as is right and proper? Should I go back and listen to Death Cab For Cutie; it’s not like I didn’t have some songs I liked when they first came out? Did my new favorite album come out ten minutes ago and you have to tell me about it now? What’s the score?
Once again, answers to the real questions. Not, why are Republicans actual mustache-twirling villains, or have we reached peakMcArdle, but the music stuff. I meant to post this yesterday, but reasons. OK, cool.
Lorde’s new album is amazing. If it has one drawback it’s that as an adult she is writing about love and sexual relationships, which are the most basic song topics, really. As a young teenager she was writing about weird stuff like seeing your home city from the air for the first time or taking the train with your friends.
I love this song so much. Golden was a short-lived but good band who gave a great live show, and has this one genius song. I was inspired to listen to it by one of our commenters reminding me to listen to Ali Farka Touré. Which you should too! But the Golden song is particularly dear to my heart because they “get chicken at Negril,” an excellent Jamaican restaurant in Silver Spring, MD near my mom’s house. Also, it combines the sweetness of West African guitar riffs with the satisfying resolution of a more normal pop song, rather than a meandering continuity.
I love Bon Iver too much. So sue me. You should read the lyrics because you will for offing sure not understand them from listening to the song, I tell you what.
Today’s Google Doodle in honor of Oskar Fischinger’s 117th birthday is very impressive and fun. Click on the image on the linked page and then click on the image again. Click on the little squares to create your music. You can change all sorts of aspects of your creation by clicking on Modify on the bottom and making various selections on the left, and also by changing the instrument on top. (Note that as far as I can tell, changing the instrument reverts to a clean slate so take care with the timing.) Enjoy!
Today’s 