The Great Buck Howard = not so great

Have you heard of this movie? One of Malkovich’s recent low-budget choices that seem not to get much pre-video-release attention despite his always great performances therein. This one stars Tom Hanks’s son as a guy who decides for no clear reason (he was unhappy; I guess it’s enough) to leave law school and get a job as a road manager for a washed-up mentalist.

buckhoward

Buck Howard is a great character. Malkovich gives him a shoulder-joint-busting handshake that’s funny every time. And so the movie should be great but it’s not even that good. I couldn’t figure out what was keeping me from falling in love with it until the end. All throughout the movie, Colin Hanks’s character has been letting us know not just what’s going on, but what his character thinks about what’s going on through a cinematic technique I want to spend the rest of this blog post um, interrogating: the voice-over.

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THUNDERANT!

A few things I love:

armisenI. Fred Armisen
I confess to liking him ever since Fericito started showing up on SNL’s Weekend Update, because while the whole “Ay, Dios mio!” thing may be overly simplistic it just about killed me every time. Now I just like him because of how smart his stuff is. Like Nicholas Fehn, the guy who comes on Weekend Update and riffs off the news headlines. It’s never funny. Like: one never finds a place to laugh. But it’s clear the whole thing is improvised, and I’m always nerdily impressed by the performance.
More things I love after the jump

Caia Hagel’s Acts of Kindness and Excellence in Times Tables

hagelcover-borderI know it’s gauche to gush, as a small-press publisher, about the books you publish; best to let their brilliance stand representatively alone. But I want to take a minute to talk about how excited we were when Hagel’s story came to The Cupboard’s inbox, and to try to get you to understand why you need to read it.

First off: it’s a story about a new kind of superhero who sings in a cabaret act.

Second: isn’t this sort of a perfect reason not to read a piece of fiction?
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Recent Book Roundup

I. Phillip Pullman’s The Amber Spyglass
First, the significance of the titular object in this book is unclear, compared to the total mind-blowing weight of the Golden Compass and the Subtle Knife in the first two books. So this object enables the woman who is meant, in theory, to be the serpent of this revisionistic Eden to see Dust? Does she ever actually do anything with it, though? The one thing this book has going for it is its perfect example of what an anticlimax is: the death of The Authority, a.k.a God. Do, do, do read the first two books of this trilogy, but try yer hardest not to read book three. It’s a let-down.
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In Which This Web Site Becomes A Tired Exercise in My Arguing Sincerely about Certain Bits of Writing I Come Across Which Any Passing Comment Could Expose as Tongue-in-Cheek and thus Undeserving of Being Taken as Seriously as I Insist on Taking Them

Everyone knows allegorical readings of anything written after 1500 are dull and limiting. They do the opposite of what reading is all about doing, which is to answer questions about a text with further questions, and with mental and associative play. Allegorical readings try to answer every question and they can’t help but look foolish in the attempt. As in:
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(Sloppy) Idea Roundup

Some things:

I. His Dark Materials
It’s a trilogy that turns Harry-Potter grads into atheists, have you heard? The overarc(h)ing narrative is the quest to kill God. Here’s the thing: it’s so much more godly and Christian than any other book I’ve written. Even if God dies (spoiler alert) in a terribly anticlimactic scene, all three books insist the church is a huge terrifying force that must be fought at all cost. And angels are everywhere and basically it’s all Milton all the time. Oh, look! I wrote “written” instead of read. Who the H do I think I am?

II. Bill Callahan live at the Williamsburg (Brooklyn) Music Hall
Me seeing B.C. live is like certain friends seeing Gary Lutz read, or like Flannery O’Connor at a midnight mass. This is to say I’m devoted. The man drumming had a mincing fag’s approach to slapping the heads; he drummed like Snagglepuss holding two pieces of someone else’s poo. The reason this was perfect for a Bill Callahan show is the exact sort of thing that makes preaching the B.C. gospel so difficult. I was unsatisfied by so many repeats from the 2007 show in Omaha, but satisfied overall. (Pretty please follow the above B.C. link, and then pretty please buy me that guitar of his.)

III. The audience at same
I was dissatisfied by the audience at Bill Callahan live at the Williamsburg Music Hall. Is it a New York thing, or a Brooklyn thing, or a Williamsburg thing: this self-absorbed performing for other people in the audience? One woman “woo”‘d for five long seconds at one random moment and it killed. More laffs than at a Gallagher show. She won, I guess. Hipster of the Century.

IV. Poetry
Poetry is the most self-conscious of writing forms. This is not my (sloppy) idea. I like read it in a David Citino book it’s so everyday. Poetry is also the most associative of writing forms. This can be seen as contradictory. That this contradiction exists is what makes poetry simultaneously interesting, possible, and for many many people (not me! honest!) unreadable.

V. People v. Flowers
A line from a poetry book I need to re-read: “I love flowers / more than people.” It’s a sad, shameful, defeated admission. Writers, sure, have many jobs, but foremost among them has to be to remind people that other people are worth loving. Right?

VI. A fallacious argument that still needs a sound counterargument, the finding of which will I think make me a better teacher.
Liking to read and liking English classes is like being born with or somehow developing a taste for licorice, and that some people just don’t like licorice. And for some reason the world has decided that these people can hate licorice all they want but that they damn well better have an understanding of exactly what licorice tastes like if they want to get a degree, or want to be considered educated. And so, for two semesters or so they suck it up and choke down licorice twice/thrice weekly, all the while keeping their eyes on this lovely licorice-free prize they’ll enjoy as soon as they’re done with school.

VII. A possible counterargument I don’t really want to have to use.
Not enjoying English classes because there are no definite single answers (like, say, in most other academic courses) is like not enjoying beer because it tends to make one drunk.

VIII. Joanna Newsom may be precious, young, and may have left B.C. for Andy F-ing Samberg, but she’s incredibly talented and her first album remains great top to bottom, inclusive of the following lyric I finally paid attention to just yesterday on a nine-hour train trip from Williamsburg, Brooklyn, to Williamsburg, Virginia.
“Never get so attached to a poem you forget truth that lacks lyricism.”

Times' New Fiction Series (& a Novella Collection)

07johnsonlargeIt’s called “Summer Thrillers” and I think it just launched today. Maybe last week. For about a year now I’ve paid for (at a reduced introductory rate that lasted 13 weeks, at which time I had to call the Times up to pretend to cancel my subscription so that they’d offer me the reduce rate again) the Sunday Times, but now I don’t anymore because they no longer offer the introductory rate. Today’s first page has a box in the lower-left corner:

To Our Readers
Starting today, the news-
stand price of the Sunday
Times is $6.00

Strange behavior for a dying medium. But for some reason the Times came today (paper delivery person, if you read this, and have just been mistakenly dropping a paper off, please continue said mistake), and I’m still in the midst of enjoying it.

The Magazine used to publish serialized pulp fiction, and I was a fan. This practice stopped earlier this year, but now they’ve got fiction in the Week in Review section, of all places. Back with the op-eds. Online readers can find the first (?) installment here.

The story, “Guy Walks into a Bar”, by Lee Child, about a retired military cop who tries to be hero in a Bleecker Street bar, is maybe light on thrills and even lighter on language. (“More Russians, probably. Operators, no question. Connected, no doubt. Probably not the best the world has ever seen, but probably not the worst, either.”) I guess this is suited to the form: fiction on an op-ed page. I guess one way to keep people moving briskly through your prose is to stick faithfully to a clear causality of subjects verbing objects.

But the news is good. Fiction in newspapers! Here’s hoping future installments are a bit less by-the-numbers.

UPDATE: Oh and if fiction in newspapers is a delight, did you know novellas are getting published in book form now, too? Josh Weil is a fellow alum, a nice guy who stayed right down the hall from me last summer, and told us about his book of novellas that Grove Press took. I thought, Novellas? Surely not. Everyone says those aren’t publishable..

Not only publishable, but readable. Anthony Doerr’s got a kind, glowing review in today’s Times.

Today’s Brain Stumper

Q: Why was The Curious Case of Benjamin Button so dull?

A (with spoilers): I can’t quite figure it out. It has to have had something to do with B.B.’s growing younger and not older, and that like while we know it won’t be easy for him, it makes his life get progressively easier, right? So any hardships along the way can just be waited out until he gets healthier and better looking?
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Son of Rambow

Son of Rambow!

son-of-rambow

Boy on the left is Will, the only son in a family that’s part of some fundamentalist “Brethren” that disables him from movies, TV, breathing, etc. Will’s dad died some years back. He draws all over his Bible, like even over all the words, and he also works on a mural that runs all around one of the stalls in the boy’s bathroom at school. Boy on the right is Lee, who gets in trouble a lot, and copies bootlegged movies for his older brother to sell. His latest: First Blood.
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Samedi the Deafness, Jesse Ball

samedi_the_deafnesslargeGiven what Ball had given The Cupboard, I’d assumed all this time this would be a language-driven book. Or if not a language-driven book, much like something written by a Lish devotee, than an image-driven one. A Ben Marcus novel, or maybe like a Djuna Barnes one.

Imagine my surprise to read this morning a plot-driven novel.

I was only going to breeze through a few pages as a way to get ready for the morning’s writing. And then, four hours later: Finished.

Samedi the Deafness is a mystery novel. Its back cover’s blurbs do a fine job of summing it up: Kafka meets Hitchcock, or Kafka meets Fleming. Take your pick. The latter(s) in that one day James Sim leaves the house and comes across a man who’s just been stabbed and “learns” of a possible plot to destroy mankind. Events progress well outside of his own control. The former in that in those events we never know whom to trust, what is the truth, or even if such exists. Hence those quote marks a few sentences back.
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J. Timberlake on SNL

J.T. on SNL this past weekend was very good. As all the bloggers are probably briefly saying before linking to vidclips, he killed, in practically every sketch he was in (and he was in just about every one), even upstaging Wiig’s Target lady in her own eponymous sketch. Most folks will probably link to the latest Samberg-Timberlake collab vid “Motherlover”, but for me the highlight of the show was “Immigrant Tale”, where J.T. played Irish immigrant Cornelius Timberlake, prophesying on the benefits to be reaped by his famous and talented great-great-grandson.
justin
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Parks and Recreation and Single-Cam Sitcoms

That laff-track, studio-audience sitcoms still exist in a post-30 Rock / –Office / –Scrubs / –Malcolm in the Middle era is as confounding to me as the length of hockey season. What’s the allure, exactly? Sitcoms have always been my favorite genre of TV—and I say this as a fan of Six Feet Under, Twin Peaks, and the Sopranos—but one of the difficult things about admitting that you love sitcoms is how unbearably formulaic and plodding they can be.
friends
For, oh, fifty years, every sitcom was built of scenes the dialogue to which fell into a nice rhythm. Line-line-line-laff. Line-line-laff. Line-line-line-line-big laff. It got depressing. Even at their funniest, your laughter was always supplanted by recorded laughter, and always met with the hammy patience of the actor waiting to proceed. And now there are sitcoms that don’t do this. There’s no waiting for laughter sounds to diminish, and so rhythm—i.e. timing, that which any comic will tell you is key to a good joke—is so much more loose and interesting. A belabored analogy: whereas Everybody Loves Raymond is a waltz, 30 Rock is jazz.

It doesn’t take an Alessandra Stanley to know that sitcoms are America’s least favorite genre of television. We’d much rather watch reality television—American Idol and Dancing with the Stars, specifically—or one hour dramas, preferably in a multi-program franchise, definitely about crime and the solving thereof. In the top 20 Nielsen-rated shows for the 2008-2009 season, there’s only one sitcom listed, and it’s currently tied for the number 11 spot with a show named Criminal Minds that I’ve never heard of. That sitcom is Two and a Half Men.

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