Mingo believes he can walk on two legs.
Next he will grow an opposable thumb.
Kurt Vonnegut has died at the age of 84, and I suspect there will be many obituaries with the same title as mine. (There’s a wonderful and thorough biography in The Guardian.)
I also considered the titles “Hi Ho” and “Kurt Vonnegut has come unstuck in time.”
As a teenager I read every novel and short story Vonnegut had written up to that time (and have continued to read his work, albeit less voraciously). I had an amusing exchange with a high school English teacher in a class on the American novel. He handed me Slaughterhouse Five, and when I said I’d already read it, he handed me Cat’s Cradle, and when he went back to the cabinet for a third time, I said “I’ve read that one too” without even looking, so he went back the fourth time and came out with Ethan Frome. Which I hadn’t read.
As a writer, what I’ve learned from Vonnegut is that it’s okay to be simple, and in fact, simplicity is a virtue. And that rhythm matters. Vonnegut wrote in beats. He was a bit of a Luddite, and probably knew nothing of the Internets, but I think he’d have liked the way that blogs play with language. The. Punctuation. Experiments. Changes to rhythm and form. Grammatical anarchy in the cause of a conversational tone of voice. Vonnegut cared about ideas, thoughts, tones, beats, and letting the audience listen. He didn’t tell you what to think; but in a gentle voice, he showed you what he saw, inviting you to see it his way. I don’t recall words like “evil” or “angry” in his work. You just read the events, and met the people, and saw the irony, and made your own decision. Yet for all that, his work was full of morality and caring:
“Hello, babies. Welcome to Earth. It’s hot in the summer and cold in the winter. It’s round and wet and crowded. At the outside, babies, you’ve got about a hundred years here. There’s only one rule that I know of, babies — ‘God damn it, you’ve got to be kind.’ ”
(From God Bless You, Mr. Rosewater.)
Mr. Vonnegut, you were kind.
All solved, and only one hint needed. Cool!
Over the weekend, cartoonist Johnny Hart died. He was the creator of both B.C. and the Wizard of Id, and continued with B.C. until his death.
In later life, Hart published cartoons that were anti-Semitic, anti-Islamic, and racist. Making him a funny subject for me to eulogize. But here I go.
My father buys lots and lots of cartoon collections. Peanuts, Tumbleweeds, Pogo, Krazy Kat, Doonesbury, Zits, you name it. And we kids would read them all. You have a dull afternoon, a pile of cartoon books, you’re set. I think I absorbed those cartoons through my skin.
And one of the bits I remember best, one of the truly funniest things that stands out among all the funny things, was from B.C. I mean, I don’t think I could quote from many of the hundreds and hundreds of cartoons I read, but I can tell you all about one thing:
Clams got legs.
I can only find one real example online (below the fold).
» Read more..
You Are Bobby Brainy |
Ultra competitive, you will do almost anything to win. From pull ups to pool sharking, you’re very talented. And while everyone is aware of your victories, they still (affectionately) consider you to be a little brat! |
The one unsolved question from yesterday is now hinty.
Identify the movie from the object, character, quote, or vignette.
1. A rusty box hidden behind a bathroom tile.
Solved by Roberta Dianne (comment #5).
2. There’s a file that he hides and doesn’t read, which turns out to be about his beloved’s father.
Solved by witless chum (comment #10).
3. The dwarf is a cordon bleu chef.
Solved by MJ Ray (comment #11).
4. When he knows he will die, he acquires a race car, and before the end comes, he races.
HINT: The movie takes place in Australia, but every major player (top five billed) was American.
Solved by Melville (comment #16).
5. Everything he owned was robbed, but he especially misses the black hat with the silver buckles. Then he spots the hat on someone’s head.
Solved by Daven (comment #1).
6. The servant watches porn and masturbates in front of the old lady he cares for.
Solved by Karen D. (comment #3).
7. “You’re going to miss your plane.” “I know.”
Solved by Amy (comment #2).
So, I dreamed I was taking a cruise, by myself. I planned it carefully, it wasn’t one of those dreams where you show up somewhere and you realize you forgot to pack or by a plane ticket or something (I have those all the time).
I walk down the long cruise ship corridors looking for my room and I see the rooms are labeled “Single Gentlemen” (or something like that) and I think “Huh,” and I also think, “Well, I know this isn’t my corridor; got to find the women’s section.” Which I do, and go into my room, and there’s someone else’s stuff in it and the bed’s unmade and slept-in. Then a man shows up and says it’s his room. We both have room keys, so obviously it’s a screw-up on the ship. We go out in the corridor until we find a steward or something and she says she’ll get it straightened out, and they move him out.
So that’s weird. What does that mean?
Then I’m settling in my room and someone I know in real life, nice guy, married, one kid one on the way, very good-looking, comes up to me and kisses me very very hard. Like grabs my face and holds it so he can get the kiss in before I can protest. Which totally weirded me out, like, woke me up because damn, that’s weird. I hate that about dreams, that you can get all horny over someone you’d never consider in real life. Totally throws your day off.
Infamous (2006) 10/10
Truman Capote (Toby Jones), accompanied by Harper Lee (Sandra Bullock) travels to Kansas to write about the murder of the Clutter family.
Pity the makers of Infamous, who got caught in one of those weird filmmaking coincidences from which they could not escape. Like Valmont and Dangerous Liaisons, two films on the same subject matter were in production at virtually the same time, one won the awards, and the other was obscured. In the case of Dangerous Liaisons, I think the superior film won the accolades, but in the case of Infamous vs. Capote, I am not at all convinced.
What is extraordinarily admirable about Capote is its thoughtfulness and focus. It stares straight at Truman Capote without blinking, and that shows us quite a lot. Infamous takes a different approach. It is much more cinematic. It is full of movement and people, costumes and “moments.” It shows Capote in his true milieu, New York “society,” and it populates that milieu magnificently, with Diana Vreeland (Juliet Stevenson), with Babe Paley (Sigourney Weaver), with Slim Keith (Hope Davis), and many more. It shows Capote outside that milieu, stuck in Kansas, alienated and alienating. And it shows him becoming lost in the world of murderer Perry Smith (Daniel Craig); lost, absorbed, and falling in love.
Infamous has a broad focus, instead of meditating on the nature of truth, it shows us the swirling mess of life that Truman Capote distills into a personal version of truth. It shows him editing “verbatim quotes,” shows him lying to friends, to Perry Smith, and to himself. Am I lowbrow to find it more interesting when it’s more visual? When people move around more, when scenes change more? Am I crass to enjoy seeing how Capote struggles to adapt to Kansas? Is it cheesy to enjoy seeing the magnificent Daniel Craig grab and terrify Capote?
For me, this less meditative, more in-your-face film let me know something of the people involved, in addition to the ideas. I found it immensely enjoyable. It remains a thoughtful work, although the thinking is perhaps of a different sort. I found Capote to be a movie about narcissism and the “fourth wall” of truth, whereas Infamous seems to be more about the shifting way we decide what is really true, and how we use truth and falsehood in relationship. Truman Capote swears secrecy to Babe Paley when she divulges a confidence, and then tells Slim Keith the whole story. Of course it’s because they love Babe and care about what’s happening to her. Of course. And we’ve all been there, on one or both sides of that, and experienced the shifting ways in which betrayal can be seen as loyalty. Now juxtapose that commonplace scene with Capote swearing his loyalty and honesty to Perry Smith. It’s the same “small” two-faced fib, except that Perry is going to die, based in part on Capote’s truthfulness.
(Neither movie, by the way, is forthright in showing that Truman Capote financed Smith’s appeals when he needed more time for interviews, and withdrew financing when he needed the book to be done. As much as both movies endeavor to show the shifting nature of Capote’s honesty, this is just a bit too much, a bit too bare, for either movie to lay it out on the table.)
Infamous is going to end up being the forgotten movie about Truman Capote and In Cold Blood, and that’s a shame. It really is quite dazzling.
I am busy. My neck hurts. My hand has gone numb. I have a slight hangover.
So. Not meditative. Sorry.
(Um…does anyone miss these when I don’t do them? Or like them when I do them? Because I can’t really tell.)