Culture and Tragedy

Sometimes, writing about popular culture feels frivolous, as it did this weekend. I heard the news about the shooting of Representative Gabrielle Giffords and others over a late brunch with a friend. This being Washington, our waitress turned out to know a number of Giffords' DC-based staffers. The whole bar went quite, and we watched the subtitles on CNN.

But I woke up on Sunday morning and thought of Don DeLillo's Libra. It's not that I think the novel's narrative of CIA manipulation applies to Jared Lee Loughner. But I did find this passage emotionally true and resonant in this dark, confusing moment:
After Oswald, men in America are no longer required to lead lives of quiet desperation. You apply for a credit card, buy a handgun, travel through cities, suburbs and shopping malls, anonymous, anonymous, looking for a chance to take a shot at the first puffy empty famous face, just to let people know there is someone out there who reads the papers.  
Branch is stuck all right. He has abandoned his life to understanding that moment in Dallas, the seven seconds that broke the back of the American century....Everything is here. Baptismal records, report cards, postcards, divorce petitions, canceled checks, daily timesheets, tax returns, property lists, postoperative x-rays, photos of knotted string, thousands of pages of testimony, of voices droning in hearing rooms in old courthouse buildings, an incredible haul of human utterance. It lies so flat on the page, hangs so still in the lazy air, lost to syntax and other arrangement, that it resembles a kind of mind-spatter, a poetry of lives muddied and dripping in language....This is the Joycean Book of America, remember—the novel in which nothing is left out.
I don't think we'll ever truly understand what happened in Arizona. We'll come up with explanations that satisfy enough of our heartbreak and curiosity and fear and settle on them. And sometimes, literature will express better than politics that grief, and anger, and confusion.

Cryptonomicon Book Club, Part IV: Off the Map

Same rules apply: below the jump, there will be spoilers up to, but not beyond, the section entitled "Conspiracy." For next week, let's read up to the section called "Golgotha."  Previous installments in this discussion appear herehere, and here. And away we go...


I've said before that this is a novel about evolution. I think more precisely it's about two moments: one where the world becomes a much smaller place to a few people, an accidental Elect, privileged and cursed by the experiences of war; and the second when technological developments have made the world even smaller to a group of nerds and visionaries, and are about to shrink it for everyone else. There's something of the age of exploration to all of these developments, enhanced, I think, by the convergence of people and events in the Phillipines, off in the blue latitudes. Even in an easily circumnavigable world, Randy still feels the shiver of strangeness that comes from distance:
Asian news always has this edge of the fantastic to it, but it's all dead serious, no nods or winks anywhere. Now he's watching a story about a nervous system disease that people in New Guinea come down with as a consequence of eating other people's brains. Just your basic cannibal story. No wonder so many Americans come here on business and never really go home again—it's like stepping into the pages of Classics Comics.
One of the things I enjoyed about this section of the book is how Stephenson maps out the different kinds of explorers, and the hierarchies between them. To start in the present, or at least closer-to-present day, Randy, the boundary-pushing software engineer, finds himself entranced by Amy Shaftoe, who isn't even necessarily excited by the things she does that make  Randy find her exciting:
Some time ago, Randy gave up pretending that he was not completely fascinated with Amy Shaftoe. This is not exactly the same thing as being in love with her, but it has quite a few things in common with that. He always had a weird, sick fascination with women who smoked and drank a lot. Amy does neither, but her complete disregard of modern skin-cancer precautions puts her in the same category: people too busy leading their lives to worry about extending their life expectancy. In any case, he has a desperate craving to know what Amy's dream is. For a while he thought it was treasure-hunting in the South China Sea. This she definitely enjoys, but he is not sure if it gives her satisfaction entire.
Aurora Taal is an explorer in reverse, someone who "has lived in Boston, Washington, and London, and seen it all, and come back to live in Manila anyway," is globalized enough not to find the first world a priori compelling, who knows that living in the Wild East is no barrier to outshining places and people who think of themselves as civilized. Prag is the same way, though he'd returned home changed by contact with people like Randy and Avi: "The virus of irony is as widespread in California as herpes, and once you're infected with it, it lives in your brain forever. A man like Prag can come home, throw away his Nikes, and pray to Mecca five times a day, but he can never eradicate it from his system."

In the age in which Randy lives, there are a lot more people who are capable of exploration and attainment, in many more categories. "Divers have mastered a large body of occult knowledge," he reflects at one point. "That explains their general resemblance to hackers, albeit physically fit hackers." The accomplishments of their forebears have made more of the world known, and given more people the skills to make the world knowable. Not that stumbling onto the unknown is any less exciting or compelling in this blazing modern age, as Randy learns from Doug when they discover a sunken German treasure submarine:
'Why do you say it's a good time to smoke?' 'To fix it in your memory. To mark it.' Doug tears his gaze from the horizon and looks at Randy searchingly, almost beseeching him to understand. 'This is one of the most important moments in your life. Nothing will ever be the same. We might get rich. We might get killed. We might just have an adventure or learn something. But we have been changed. We are standing close to the Heraclitean fire, feeling its heat on our faces.' He produces a flaring safety match from his cupped palms like a magician, and holds it up before Randy's eyes, and Randy puffs the cigar alive, staring into the flame.
Lawrence and Bobby's era has its own taxonomy of explorers. There are people who are simply convinced of their own exceptionalism, like Mrs. McTeague, who is certain that her children "grew from the brightest and most beautiful children ever born into the finest adults who walk the earth except for the King of England, The General, and Lord Mountbatten." There are people like Bobby Shaftoe, who have been elevated by experience. At home, Bobby might have simply been a quite outstanding specimen of American manhood, but bouncing across the world, into circumstances unprecedented before the world started tearing itself apart, Shaftoe became extraordinary by thriving, by getting addicted to morphine, by surviving the lizards, by loving Glory, by accepting that the world as he knows it includes men like Lawrence Waterhouse and Enoch Root. There are people like Douglas McArthur, who understand themselves to be, and make it clear to others around them, that they are an updated model of a certain kind of historical figure, engineered for this particular upheaval:
The major continues. 'See, we've gone over the watershed line of this war. We won Midway. We won North Africa. Stalingrad. The Battle of the Atlantic. Everything changes when you go over the watershed line. The rivers all flow a different direction. It's as if the force of gravity itself has changed and is now working in our favor. We've adjusted to that. Marshall and Churchill and all those others are still stuck in an obsolete mentality. They are defenders. But The General is not a defender. As a matter of fact, just between you and me, The General is lousy on defense, as he demonstrated in the Philippines. The General is a conqueror.
And then there are men like Lawrence Waterhouse, who exist outside the frameworks that men like Bobby Shaftoe (and probably Douglas McArthur) use to divide up and render comprehensible the world. Lawrence Waterhouse is the shape of things to come, a member of a fraternity of men whose minds work in an exceedingly particular way that the rest of us will reroute ourselves to at least partially understand, but that is, at the time, "a clearance that is rarer, harder to come by, and more mysterious than Ultra Mega." Seeing the world that way, daring to look beyond the horizon, to sail off the understood map, is alienating even for men like Lawrence who see its rightness:
The last time he was in California, before Pearl Harbor, he was no different from all of those guys on the pier—just a little smarter, with a knack for numbers and music. But now he understands the war in a way that they never will. He is still wearing the same uniform, but only as a disguise. He believes now that the war, as those guys understand it, is every bit as fictional as the war movies being turned out across town in Hollywood.
And it's a mark of Bobby Shaftoe's extraordinariness that even though he fits neatly into the categories that explained the whole world to him before the war began, that he can see that there's something beyond what he knew to be the end of the universe, even if unlike Lawrence, he can't quite see the details:
The Second World War has led him into all sorts of uncouth behavior, and there don't seem to be any grandpas lurking in the trenches with doubled belts; no consequences at all for the wicked, in fact. Maybe that will change in a couple of years, if the Germans and the Nips lose the war. But that reckoning will be so great and terrible that Shaftoe's glance at Bischoff's letter will probably go unnoticed.
So what's the reckoning that's coming? Beyond the atom bomb and the reestablishment of the world's geographical boundaries and balance of power, what is the fruit that Randy and Amy are reaping from the resowing of the world's orchards with different crops?

Facing the Void

I know I don't write about sports very often here, though I appreciate that my other home base at The Atlantic includes sports under the general rubric of culture. But are any of you as depressed as I am by the prospect of a football lockout in 2011? Thinking about it, I realized that 1995 was the first time I lived in an area with established professional sports teams (somehow, the Hartford Whalers didn't register on my very young self during our years in Connecticut), and the first year I began to care about a group of teams. That year had a shortened baseball season, but the strike was the year past, and didn't wipe out a whole season, and the ongoing NHL lockout didn't really register. I've never been a major pro basketball fan, so I wasn't super-affected by the 1998-1999 lockout. So this will be the first time I really feel the disruption of a season gone awry, a part of my year will go missing. I feel like the playoffs are going to feel especially precious this season.

The One Who Finds the Fourth

Now that my books are organized by genre, I'm alighting on books I haven't read in years, and on New Year's Day, I re-read Ellen Raskin's young adult mystery The Westing Game.

Raskin was a multiple-threat artist. Her 1966 picture book Nothing Ever Happens On My Block is incredibly visually witty, stylistically much more minimalist than Peter Spier's lush, colorful illustrations of small-town American life, but with the same ability to pack tons of humor into detail. She's fascinated by word games and illusions, something that shows in her first, and weaker, YA novel, The Mysterious Disappearance of Leon (I Mean Noel).

But The Westing Game is that rare YA novel that, like Jean Merrill's The Pushcart War, could easily serve as a comic adult novel. It's got a sophisticated conceit: a new apartment building is filled with renters chosen by a mysterious industrialist to participate in the game that constitutes his will. The character sketches are short, and deft, and surprisingly dark. Raskin gives a pretty girl an extreme dark side and rejects the idea that she should be happy with marriage, and turns her shin-kicking financial whiz of a younger sister into a heroine. She isn't afraid to dissect characters, but the novel emphasizes growth. Everyone ends the book a better person, whether they've mastered English or are running a chain of restaurants.

A lot of the characters have fairly conventional problems: social-climbing ambitions, strained finances, stunted social lives, the effects of a lingering legacy of racism. But the mystery they're confronted with lets them address, and work on, those issues in surprising and un-cliche ways. Maybe it's worse to have a hackneyed mystery scenario than to resolve family and professional dramas in expected ways. But The Westing Game still feels fresh more than a decade after I first read it, and 32 years after it was written.

Pop Goes Celebrity

Of course Kim Kardashian has a single coming out, and of course Kanye is in the video. I think it's fascinating that music has become totally unmoored from skill, or artistic sensibility, it's a part of the celebrity production process. Producers and songwriters and editors and the people who do your hair and help you pick your dress before you hit the red carpet are essentially performing the same function. Releasing a single is the same thing as showing up for an event, or posing in Maxim, or whatever. I don't know if that's because popular music is so simplistic and formulaic that you can engineer anyone into achieving the basics and going through the motions, or because it's much harder to fake acting skill, or because a single is obtainable, it's three minutes. I just think it's fascinating that people are shameless enough not to care if they sound good or not, or to consider faking it an essential part of the process of being a celebrity.

Gone Too Young

In 2007, 4,703 children between the ages of 1 and 4 and 6,147 children aged 5 to 14 died in America. I feel like that's actually less than I would have expected, but it's still an almost unfathomable toll in terms of grief. And I think it's unsurprising that even within the oft-filmed subsection of affluent white women who lose their children (God forbid we venture into the realm of families in poverty who lose children), it's hard to figure out how to make a movie about that kind of agony. We've got two movies in the genre following quickly on each other, the first featuring Natalie Portman as a mistress-turned-wife who loses her own baby with her new husband and struggles to find her way as a mother with her stepson:




And already in theaters, we've got Rabbit Hole:



I think it's fascinating that these movies both have bad-mother aspects to them. Lisa Kudrow blames Natalie Portman's character for the death of Portman's own child, saying she's proved she's "not safe" around children. The comment seems mostly like moral commentary on the fact that Portman's daughter was the result of her marriage to a man who left his wife for her. And while Kidman's grief is of course legitimate in Rabbit Hole, obviously Aaron Eckhart's character thinks there an extent to which she's a bad wife for not recovering more quickly. The world is a much less cruel place than it used to be, especially for those of us who live middle-class lives or better in highly industrialized first-world countries. Maybe we need to source the randomness of a universe that sometimes kills our children to something.

A Public Service Announcement to Readers

The Cape is a ginormous mess. Watch it this weekend if you love Summer Glau, but be forewarned.

Being Human, And American

As those of you who follow me on Twitter may have noticed, I am ripping through Being Human as fast as I possibly can before a remake of the show about a vampire, werewolf and ghost sharing a house premieres on SyFy. The thing that struck me about the SyFy trailer, and I'm sure will strike those of you who have seen the completely excellent BBC original, too, is how strikingly visually similar it is to the show it's purporting to remake:



If what SyFy wants is a show about a curly-haired, olive-skinned ghost, a werewolf who goes through exactly the same physical motions during his transformation as an extant werewolf, etc., why not just aim for syndication rights to the original? There's something eerie, and not in a compelling way, about how exact this reproduction is. If you're going to remake a show, add something to it, for God's sake. Create an essential Americanness to it to counter the essential Britishness of the BBC original. I'll reserve judgement until I've seen the show itself (and I'll try to get my hands on some screener copies), but this visual similarities strike me as a sign of worrisome timidity.

Death of a Fansite

While I was watching Community in the same timeslot as Bones this fall, I missed a lot of episodes, and also missed the shuttering of Obsessed With Bones, a cheerful and kindly fansite for the show I read from time to time and which was often generous enough to link to things I wrote. I was surprised at how sorry I was at the news. Wendy kept up a good site with a constructive commenting section, but it wasn't like I was a daily reader or anything. It's just more evidence, I suppose, that what we consume is what we do, but I liked knowing that the site was out there, and knowing that Wendy had created a community around it. And it's also evidence that when shows, series, artists, whatever, change, so do people's lives. For years, Bones was a show that meant enough to Wendy to structure part of her life around it, and now it's not any more.

I don't really have any attachments to culture that exert that kind of pull on me at the moment, though I've certainly had those flings with Star Wars* and some television and movie series. And I don't know that it says something either about the quality of our lives or the quality of our culture that we get attached like this. Rather, I'm glad we live in a time when technology makes it easier for shared affinity to be the basis for community.


*I promise, by the way, that the Extended Universe project is back this year.

Speaking of Justin Townes Earle...

As someone who sort of followed her father into a field, I cannot imagine how absurdly hard it is to be Justin Townes Earle. I assume it's gratifying, and probably reassuring, for Earle to get the reception he's been getting lately. This is a really terrific song:



I am profoundly not a musician (stabs at violin and trumpet aside), but I assume it's more satisfying to write a genuinely terrific pop song than to just get credit for a great performance of something mid-level or even mediocre, if only because you've created something new from the bones and flesh up.

And if Townes has it tough, I imagine Jakob Dylan has it even harder. Maybe it's just being in the moment, but I feel like the younger Dylan never quite had the moment the younger Earle is having now, where the consensus seems to be that he's an entirely worthy inheritor of his father's tradition, no matter how successful Bringing Down the Horse was. I'm quite fond of the Wallflowers' third album, (Breach), though. There's a real bite to it, from the very first track:



It's not Blood on the Tracks, but that's not the point. Bob Dylan's a shaman, a spirit walking the land. His son is a self-aware pop semi-star:



Just like Dad, though, he can kill with the inflection. "It's where I'm from that lets them think I'm a whore / I'm an educated virgin" is one hell of a gorgeous line.

Meandering Past the Border

In an effort to do less writing in which I know not of what I type, I downloaded M.I.A.'s Vicki Leekx mixtape once Peter Suderman recommended it. I'm not really qualified to make any judgements on the production, and the lyrics mostly didn't stand out to me (except in moments of occasional annoying puerility). But I enjoyed the tape for a couple of reasons.

First, in its staticky, minimalist way, listening to the album feels to me like having a conversation while walking down a street in Shanghai or Phnom Penh, a place where there are a lot of unfamiliar sounds and a language barrier. I had to concentrate on the lyrics to understand them, but it was hard, because there were a lot of interesting and not immediately identifiable or recognizable things happening around the words that kept grabbing tendrils of my attention. As a listener, I'm overly biased towards lyrics, mostly because they provide the meat of the kind of analysis I like to do. I tend to be more curious about the trend in rappers setting themselves up as serial killers than who they're sampling or what they're doing to the sample. But I would like to learn more about the stuff around the words.

Second, I assume there's a way to chop up a mixtape into tracks, but I have never really done it, and so I listened to the tape as a continuous track. I've mentioned repeatedly that I'm fairly biased towards singles, and rarely listen to albums as a coherent experience (in fact, I think one of the most important changes in my media consumption habits in 2010 were that I spent a lot of time listening to singles on YouTube and much less time in iTunes—downloading the mixtape, I realized that iTunes had changed through a couple of updates and that I wasn't really familiar with the new layout). So listening to this album all the way through the first time, without the ability to click back and forth and reabsorb individual tracks was a deviation for me. I don't think there's any section in it that particularly stands out to me as a viable candidate for a single anyway, and I wonder if, particular to my listening habits, the mixtape might work a lot better as background noise that absorbs an unusually high percentage of my attention. I'd have to change my listening habits considerably (and probably the fact that I am a multi-tasking fidget) to listen to full albums all the way through without doing anything else in the meantime. But it's probably worth trying to do more often. I'll definitely plan to give it a shot with Justin Townes Earle, at least.

And as a side note, wouldn't WikiLeaks be a hell of a lot more fun if it were run by a quasi-superheroine named Vicki Leekx instead of Julian Assange?

Hermit Kingdom, Silver Screen

Vulture's complaining that, apparently, the first contemporary Western movie to make it into North Korea is Bend It Like Beckham. I actually quite like the flick, and particularly, Keira Knightley before she was British Beauty Personified. And I'd be fascinated to know what North Koreans made of it.

I imagine given the impact of famine on North Korea's food supply, the main character's attitude towards food might seem utterly perplexing. You've got to be pretty secure in your food supply if you can see the requirement that you be a good cook as oppressive. The book I linked to is the source of an incredible New Yorker article on famine in North Korea that makes clear the extent to which keeping starvation at bay has been a full-time job for many North Koreans, so I have no idea how North Korean viewers would react to the idea of cooking as a leisure-time activity. I imagine the Indian parents might seem more sympathetic to North Korean viewers, who might see them as setting up their daughters to be good providers, than Western audiences do.

I also have no idea what the average North Korean's exposure to Indian cultural norms, or to the issues of immigrant assimilation in the UK might be, and whether some of the central conflicts of the movie even resonate. Bend It Like Beckham is, at its core, a love story, of course. But it's a love story surrounded by a lot of class, race, and national politics. And I have absolutely no idea what makes it through in the translation of the script. I can imagine a lot of the movie's events and jokes would be inexplicable without context. I know it's decidedly minor, but if anyone makes it out of North Korea soon who saw the broadcast, I'd be curious to know what they thought.

Shameless

I'm really sorry Stephen King's Entertainment Weekly column is done. I didn't necessarily agree with his picks or his criticisms, but his conversational voice (shown off so well in Faithful, his 2004 Red Sox diary with Stewart O'Nan) is a wonderful thing to spend time with. And I think the column was a useful illustration of the fact that you can have a lot more fun, while still maintaining your critical faculties, if you relinquish your sense of shame in what culture you consume.

Sophisticated, elegant, technically accomplished culture doesn't have to be boring, or unpleasant, or merely rigorous, of course. One of the reasons I think it would be marvelous to see a movie like Toy Story 3 or Up win best picture, or that I'm so pleased to see Robyn so high up on so many year-end wrap-up lists, is that art like that insists on both excellence and pleasure.

King, I think, sometimes aimed lower than that. I am not, for example, going to sign off on his embrace of "Who Let the Dogs Out."But pleasure is a justifiable pursuit in and of itself, and I think there are far too few critics who are dedicated to simply identifying and praising effective entertainment. Maybe it's true that critics like Anthony Lane aren't enough to hold back a massive tide of junk (though there's some sense that studios have reached a Rubicon and decided to turn around) and we need more of them devoted purely to art. But King was fun to read, and I hope he won't be just a one-off for EW, especially since Diablo Cody's column appears to have lapsed in October 2009.

Strapping Up and Serving Coffee

Rumor has it we might get another female character in Joss Whedon's Avengers movie. While y'all know my feelings on the subject of the awesomeness of She-Hulk, I do find the suggestion that the lady in question be Maria Hill interesting.

One of the things that was best about The Incredibles was the ways it teased out the infrastructure that superheroes need to do their work, from the allusions to Rick Dicker's work in the National Supers Agency to the immortal Edna Mole (all of which would make for great elements of a sequel). Before Iron Man and the current progression towards The Avengers, super-heroes either operated independently like Spider-Man, or operated within the aegis of the X-Men. Either way, those organizations and fraternities have had more to do with how super-heroes and villains govern themselves internally and align themselves with and against each other than how superheroes relate to the rest of humanity.

Obviously, that's been changing in the Iron Man movies, and it's going to change with the role of S.H.I.E.L.D. in Thor. I think having someone like Maria Hill, who is a major character and a major player in super-heroes governance, but is not herself super-powered, be a major player, is a nice bridge. Would I prefer a full-on super-heroine movie? Sure. But I'll take—and give Joss Whedon—whatever we can get to work with. And Maria Hill would be a smart expansion of the genre, rather than a compromise.

The Essence of America

I haven't read Freedom, but I did follow SEK and Scott Lemieux's discussion over at Lawyers, Guns and Money about the novel. And I was struck by Scott's observation by how the advance coronation of the novel interfered with his reading of it: "once you’ve abandoned the idea that Freedom is a Masterpiece of American Literachoor, it can be enjoyed as an engaging if very uneven minor novel."


I think the search for a Masterpiece of American Literature, or more specifically, the Great American Novel, is generally amusing. The idea that we have the judgement and foresight to know greatness when we see it, and to predict the longevity of any single work into the ages, is patently sort of silly. We can know if we respond to literature, if we think it's strong, but absent some sort of Harry Potter-like phenomenon, we can't know if something is important at the level of the culture. And even with a phenomenon like Potter, we just can't be sure that something will last beyond our lifetimes.


But more importantly, I tend to think America is too big for the Great American Novel to exist. Maybe the country was small enough once, though the divisions between New England, the South, and the mid-Atlantic were always considerable. America's essence is in its sprawl, its ungovernableness, its quarrelsome and competitive diversity, its flux and evolution. We can have a Great American Library. But any Great American Novel is bound for obsoleteness, for incompleteness. 

A Concerto For Pete Postlethwaite

Brassed Off is not the movie for which papers will laud Pete Postlethwaite in their obituaries of him, but it's a lovely, smart, musically and emotionally rich movie:



It's also one of the few movies in which Postlethwaite, best known as a character actor, was really one of the leads. It's a very, very British movie, but highly recommended even if you're not interested in Thatcherism's impact on coal-mining communities. Postlethwaite's death is a real loss to movies: he brought his roles an enormous amount of dignity, no matter the social class or situation of the characters he was playing. It's an all-too-rare quality in an age when lack of dignity defines both our comedy and our drama, and is seen as a sign of some kind of honesty or authenticity.

Recommended Reading

I finished 2010 up by completing John Matteson's Eden's Outcasts on New Year's Eve. I know I mentioned the biography, a joint portrait of Bronson and Louisa May Alcott, last week, but I really can't recommend it highly enough. It's obviously a fantastic, illuminating book for readers who enjoy Louisa May's major fiction. But for anyone who thinks seriously about fiction, and the social circumstances and combination of market forces and artistic inspiration that shapes the books that make it into readers' hands.

I've read a lot of Alcott's fiction, knew that the two halves of Little Women, own some of her pulp writing, and grew up in close proximity to many of the places she and her family lived in their fairly nomadic existence. But I didn't know that Little Women was the result of a commission, rather than independent artistic inspiration, and I didn't know how many of the events in that and subsequent sequels were repurposed memoir, rather than fictional creations. Nor did I know that Alcott had some of the same experiences not only as Jo, her obvious literary alter ego, but as sickly younger sister Beth. But the book's not just biographical connect-the-dots. It's a rigorous intellectual history of Bronson's development and his influence on his second-eldest daughter. 

I pretty much believe everyone should read Little Women (and I feel the same way about the Little House books: they're both critical family dramas that trace women's development under the influence of strong parents rooted in the traditions of New England originalism and Manifest Destiny. They're critical American reading.) But even if you haven't, Eden's Outcasts is well-worth reading, a great palate-cleanser and table-setter to start off the year.