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Saturday, November 6, 2010
Glamorama
Saturday, October 23, 2010
American Psycho
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Oct 23, 2010 17:00:10
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!1: Best Buy I've heard in the blogosphere that there's been a resurgence of interest in American Psycho. Since I hadn't read the book when it first appeared, I thought I'd try it on this go-around. It is a darkly humorous novel and highly original in many respects, such as the narrator's propensity to describe in exquisite GQ detail other characters' attire--as refreshing and as bracing as the J&B the main character, the wealthy young Wall St. scion, Patrick Bateman, favors. It's not a typical 'American' novel and reminds me of Jim Thompson on steroids, with a dash of F. Scott Fitzgerald. There's alot of very detailed horrorific (and creative) killing, which alternates with comedy, like Bateman evading an hopeful homosexual paramour at Barney's. In a scene the movie did well, there is a hilarious panic attack brought on by the comparison of business cards, their quality of paper, their ink, and typeface.
The 'unreliable narrator' is played to the hilt: we don't really know if this is a 'real' person doing 'real' things, or a real crazy person, or a real crazy person doing 'real' things, etc. It's hard to believe a mass serial killer could rack up this number of victims even in NYC. That's part of a deeper inquiry--what really lies below the surfaces, like tastes in clothes or music, that makes people more deeply human, if anything.
But it's also subtle commentary on the American scene, or at least a slice of it, so to speak, in the late '80s, which is just as applicable today, hence, I suspect the resurgence in interest. Here we have crime hiding in plain sight, and nobody interested in doing much about it--as large a problem in the '80s as with the more recent derivatives-based scandals with characters like Madoff and such. Some elements are quite dated--such as the need to return videos to a store, or the references to 'hardbodies'--but that doesn't detract from the core update of Vanity Fair.
I'm also reminded of a recent article in the Times about the 'compassion deficit' that the wealthy can experience, as they feel that they become less and less connected to the same society as the rest of us. This concept was elaborated in a discussion of charitable giving, and how the wealthy give far less than the less well off as a percentage of income, and when they do give, it's usually to 'status' organizations.
How long can the unsustainable be sustained? There is no comeuppance for Bateman--though there is a hint, towards the end, which is weirdly prescient given 9/11: "History is sinking and only a very few seem dimly aware that things are getting bad. Airplanes fly low across the city, crossing in front of the sun."
Alas, the mendacious rich, as well as the poor, will always be with us. on Sale!
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Sunday, October 10, 2010
PICADOR SHOTS - ' Water from the Sun': Discovering Japan (Picador Shots)
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Sunday, September 26, 2010
This Other Eden
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Sep 26, 2010 23:34:06
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!1: Best Buy When I first read the back cover blurb for This Other Eden by Michael Hemmingson, I was hesitant about plunging into the story and novella collection. "Terrorism, crack cocaine, and rape. Failure, miscarriages, and suicide." Though I've read plenty on these subjects, I didn't feel up for disillusionment about life. Maybe I'd been having a bad day.
I'm so glad I opened the first pages. These tales are not about disillusionment, though they almost seem that they should be. They're about surviving all the things that happen in our lives, even as we plug along in the repetition of bad luck and bad choices.
The titles of the three stories and three novellas in the collection all feature the word "happen" in some way: "Nothing Like That Ever Happened," "What Happens When Things Happen to People," and "Where He Was the Day It Happened," to name three. "Happen" suggests that our lives are not in our control, that we're part of events that we react to and adjust to and quarrel with, and the characters in these stories all follow the same patterns of letting life pull them along, coping or not coping as life "happens" to them. Yet, in each tale, I was surprised by genuine love that unfolded, by quiet emotions that surfaced, and the feeling that something good could still happen.
In "Nothing Like That Ever Happened," the narrator tells the story of his prodigy child who writes successful novels at age nine. The tone is a rather contented resignation. He says, "I'd given up on my dreams ..." and "I'd convinced myself I was better for it." He sits alone in his chair "and watches everything," while the reader get glimpses of what the daughter writes about, the story she needs to tell. And what's unveiled should be more disturbing than it is; but it comes subtly in the form of quiet, unspoken love, which left me startled at my own reaction.
"What Happens When Things Happen to People" begins with a woman Ivy taking firm, assured steps toward a planned destination to become an editor in New York; she has a dream she plans to follow, and her partner Edmond is happy to tag along: he shrugs and says "Sure." Edmond is a self-professed "day-to-day guy." They go to New York and each meets new people, with relationships developing and breaking apart, and goals pushed aside or squashed. These personalities are strong forces, stronger perhaps than their own will and determination can combat.
It's partly through authentic, energetic, idiosyncratic dialogue that Hemmingson creates the force of people that work for and against the characters. Alonzo, an editor Ivy meets, takes her out one night and, humorously, in third person, provides a long monologue of his life: "But Alonzo had dreams, yes he did, and although, like yourself, he met many closed doors when trying to find a job in publishing, he was determined as holy hell. So what did he do? What did I do? ..." And as Alonzo is schmoozing her, a stockbroker Mark is selling Edmond on a new job: "Listen, you don't have to be some MBA whiz-kid and you don't have to be from some prep school with a father in the biz. Look at me. I'm a guy from Hoboken. Now I live in Manhattan." And his new sponsor says, "Ninety-nine percent of the time you'll meet rejection. You'll live for that one percent when a sale is made; you make your living off that one percent; we keep the firm going on that one percent." As the story goes on, we see that people are living off that one percent their entire lives. With each new person Ivy and Edmond meet, their lives become more complicated and they fall into situations--"choices" is a difficult word to use in these stories--that become harder, darker, and sadder.
"Where He Was the Day It Happened" begins with Martin Tucker having sex with a married woman as the violence of the Trade Center happens. And he realizes he's at the end of another affair. He wants to connect with his daughter who's afraid, as he's afraid, as everyone's afraid, but at the house he only encounters more violence and hatred from his ex-wife, and back on the streets, it's not connection he finds but a release of his own frustration.
In "Now That I Know What Happened, Could You Hold Me, Please, and Say This Is Love?" Paul takes what little money he and Karin have and heads to the grocery store, only to be sidetracked as he meets an old friend. We learn then about his affair and later more affairs, and as in other stories, each new person the characters meet seems to bring new complications. Temptation seems too much to combat; small incidents escalate into disasters, betrayals, and violence. The woman Paul is having an affair with says, "Free will got in the way. I made the wrong choice." But all of life seems to be not choices but patterns. When Karin finally leaves him, Paul says that "days just blended."
It was in this novella that I began relating the tales to Waiting for Godot, with characters waiting as life happens, falling into whatever takes them. Paul starts to realize that people are waiting for that dream, that sunray shining down. He takes a job on a psychic hotline and tells people lies so life still seems possible. And then he meets Olivia and her daughter Ella, and we get that glimmer of hope, of potential. There's no smooth going here, with much drinking and self-destruction, but through it Paul's underlying kindness and caring begins to take shape as something that can, perhaps, finally move people to something good.
When, in the final story "And Then It Happened," Harry M. Evans wins the lottery, it feels like life is changing. He speaks in assertions, commands, and Hemmingson separates each assertion as a new paragraph, as definite, assured statements:
"So he said, `Fire me.'"
"He said, `I don't care.'"
"He said, `Do it.'"
But as the people start to call, as greed kicks in, Evans's short statements are melded in one questioning line, his assurance quickly zapped: His stepmother says of the win "This is grand news" and Evans replies, "It is; it is. Isn't it? It is."
Equally masterful is how Hemmingson captures the manipulations of greed through dialogue: Evans's cousin calls wanting money for his grand plan: "I think it would be good for you to listen to me, listen to my voice, hear me out, hear what I have to say, cuz your old cuz has the big ideas, he knows what is what. Am I right, or am I right?" Evans's ticket, the reader finds, was won through quick-pick, all chance, and it begins to feel that what happens to us isn't really ours unless we make it happen. But amid all the clinging friends and relatives, Evans finds one woman who loves him knowing nothing of his money. The hope we feel is welcome but tamed by the knowledge that dreams, as we've experienced throughout the collection, are very fragile in a world where so much else keeps happening.
I came away from the collection not disheartened but knowing that amid all the failures and sad patterns of life good things still happen; Hemmingson's tales refrain from despair and offer a way up and out. And please don't let the length of this review fool you into thinking the collection is a long, slow read as well. The tales move quickly, led by fast-paced dialogue and sprinklings of humor. Once you start them you don't stop. on Sale!
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Monday, September 13, 2010
Elvis Costello Albums: Almost Blue, Elvis Costello Discography, My Aim Is True, Get Happy!!, Imperial Bedroom, Secret, Profane
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Tuesday, August 31, 2010
One Day (Vintage Contemporaries Original)
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Aug 31, 2010 02:34:36
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±1±: Best Buy This is a most unique and touching love story and friend story.
I hate it when reviewers give you the entire plot (and often ruin the reading experience for you) so I won't give you a lengthy synopsis (you can read the Amazon version online).
All I will say is that whether you're a romantic or a pragmatist, this book will make you laugh, make you fall in love with the characters, and make you think about them long after you have finished their story.
I know that it's currently being made into a movie, so my advice is to hurry up and read this book before the film comes out and screws it up for everyone. on Sale!
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Tuesday, August 17, 2010
Imperial Bedrooms [Hardcover]
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Aug 17, 2010 19:15:12
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±1±: Best Buy This is a notable sequel 25 years on to "Less Than Zero" ,the 1985 novel that made Bret Easton Ellis famous. The original story in "Less Than Zero" novel was about the drugged,empty lives of rich Los Angels teenagers.In "Imperial Bedrooms", the narrator Clay & his friends are engaged in a traquillised "danse macabre" around a nightmarish Los Angels,only now they are all in their 40s with even more money & an increased inclination/capacity for violence.This is a taut & ultimately terrifying novel that wants you to know/understand why people can become monsters.The plot is long-winded & shocking,deserving 3,5 stars that approximate a 4.If you enjoyed "Less Than Zero" novel,you will enjoy this sequel "Imperial Bedrooms" novel, 25 years later. on Sale!
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Wednesday, August 4, 2010
Pygmy
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Aug 04, 2010 11:17:12
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Pygmy is one of a handful of young adults from a totalitarian state sent to the US disguised as exchange students. Living with American families to blend in, they are planning an unspecified act of massive terrorism that will bring this big dumb country and its fat dumb inhabitants to their knees. Palahniuk depicts Midwestern life through the eyes of this indoctrinated little killer in a cunning double-edged satire of American xenophobia.
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±1±: Best Buy I'll state from the outset that I greatly admire Chuck Palahniuk for his inventive storytelling, muscular language, and his ability to talk about really nasty stuff in a funny way. So, my reading of his latest novel, PYGMY, is definitely colored by that bias.
I'd say this is a worthy addition to his canon. But like his other work, PYGMY isn't without its challenges. It's dark, visceral, and dripping with various bodily fluids.
PYGMY follows the misadventures of Agent Number 67, sent to the American Midwest by an undisclosed Maoist dictatorship to inflict "Operation Havoc" on the corrupt, fat and stupid running dogs of Imperialism known to us as the American people. He and a number of other agents have been sent in a student exchange program.
At first, you might find the way the story is told to be quite a hurdle. Pygmy (so named by his host family because of his short stature) tells the story in a series of dispatches to his government, using a kind of pidgin English. I got used to it within a chapter or so, but there are occasional paragraphs that are so dense with description you will definitely have to read them twice to understand what he's really trying to say. For example:
"Traversing dark environment en route destination, surrounded mating cry cricket, croak of bulls frog, lecture this agent concerning France missive entitled Le Defi Americain. How admonish intellectual elite over manner United States numerous multinational corporation Kodak, Gillette, General Motor endeavor tangle entire globe ensnared tentacles sucking wealth for digest and fatten parent sovereign American nation, leeching life energy addition opportunity during render subject nation stripped resources and native cultures."
But when Pygmy's voice works, it really sings. I found the book came to life in the scenes where Pygmy describes traditional high school rituals, such as Glee Club, the Model United Nations, school dances, and the adolescent ritual of dodgeball:
"Commencement of ritual, physical superior males select best combatants for accompany into battle, thus ranking all from most-best to least desirable for reproduction during females note close attention. Next then, divided males engage violent assault upon each opposite army, battering with inflated bladders latex rubber.
"Over course conflict, males boasting superior musculature inflict injury upon males typical of superior intellect, although suffering inferior height-to-weight ratio, body mass index, and stature.
"At completion dodgeball ritual, females made full aware which males present most-desirable physical traits. Vanquished males culled by injury, weak reproductive citizens force self-select, redirect, instead impregnate mates, procreate offspring, instead channel aggressions chess club, focus sexual ambitions science club."
And it is the Science Fair that is the focus of Pygmy and the other agent's "Operation Havoc" -- for Pygmy, this is not just because of his orders, but because his host sister, "cat sister" as he calls her, is also working on a science project for the fair, and while she works on it, he falls for her. (She is one of the few Americans for whom he has any respect.) Yes, this is a kind of love story in addition to being a satire.
In many ways, this is a more broad satire than I've seen in other Palahniuk works, but I enjoyed the farcical nature of some of the scenes -- I laughed out loud in a few places. Also really enjoyed the double-edged nature of the satire, which is always the best kind. It makes fun of American culture and in some ways, the satire of totalitarianism is just as savage. (You don't see many books opening with a quote by Hitler.)
I'd recommend it, with the proviso that you should check out the sample chapter, to see if the way the story is told will work for you. on Sale!
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Wednesday, July 21, 2010
The Little Friend
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Jul 21, 2010 15:45:27
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The setting is Alexandria, Mississippi, where one Mother’s Day a little boy named Robin Cleve Dufresnes was found hanging from a tree in his parents’ yard. Twelve years later Robin’s murder is still unsolved and his family remains devastated. So it is that Robin’s sister Harriet—unnervingly bright, insufferably determined, and unduly influenced by the fiction of Kipling and Robert Louis Stevenson--sets out to unmask his killer. Aided only by her worshipful friend Hely, Harriet crosses her town’s rigid lines of race and caste and burrows deep into her family’s history of loss. Filled with hairpin turns of plot and “a bustling, ridiculous humanity worthy of Dickens” (The New York Times Book Review), The Little Friend is a work of myriad enchantments by a writer of prodigious talent.
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±1±: Best Buy I was shocked at the low ratings given this beautifully written novel. This is one of the best books I have read, especially for it's lyrical writing and putting you there in the moment. It is not the typical thriller / murder mystery. Thank God. This book is enjoyable on a level far above the typical. I don't mind that the story unfolds slowly, I savor every page. The characters come alive and it is as though you are there watching them. The author finely crafted this book, the writing is magical. By the way, this is the first time I've been moved to add my two cents to the reviews of a book. That's how strongly I feel about The Little Friend. on Sale!
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Thursday, July 8, 2010
Role Models
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Jul 08, 2010 06:15:12
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Here, from the incomparable John Waters, is a paean to the power of subversive inspiration that will delight, amuse, enrich—and happily horrify readers everywhere.
Role Models is, in fact, a self-portrait told through intimate profiles of favorite personalities—some famous, some unknown, some criminal, some surprisingly middle-of-the-road. From Esther Martin, owner of the scariest bar in Baltimore, to the playwright Tennessee Williams; from the atheist leader Madalyn Murray O’Hair to the insane martyr Saint Catherine of Siena; from the English novelist Denton Welch to the timelessly appealing singer Johnny Mathis—these are the extreme figures who helped the author form his own brand of neurotic happiness.
Role Models is a personal invitation into one of the most unique, perverse, and hilarious artistic minds of our time.
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±1±: Best Buy John Waters always has elicited strong opinions from people and that seems evident here in the early reviews. Anyone who has seen or heard Waters being interviewed or seen him emcee a show will recognize the tone and style here. He rambles entertainingly through the book, with on-target observations that integrate references that range from the absurd to the refined. The chapters vary in their quality. Some passages are laugh out loud funny, but some sections drag. The chapter on Leslie Van Houten becomes rather tedious and didactic, in places, although Waters raises worthwhile questions about rehabilitation and the grandstanding of prosecutors. The section on his art collection betrayed perhaps a need to be taken seriously even as he collects pieces that most people who find academically interesting, at most. Waters' parents do not get their own chapter, but they are always present and come across as people who supported Waters' development and work in surprising ways while remaining very much the conventional parents of their time. At the same time, Waters confronts the problems and limitations of some of the eccentric Baltimore characters he had idolized, like Zorro, the lesbian stripper whose daughter somehow thrived despite a chaotic, problem-ridden environment. Despite focusing on role models, Waters creates a world where neither nature nor nurture seem to triumph. His conservative, conventional parents wound up with "The Pope of Filth" for a son, while Zorro winds up with an apparently very conventional, well-adjusted daughter. Waters lives in a world where the classic 1950s songs of Johnny Mathis co-exist with a fringe gay pornographer like Bobby Garcia, and Leslie Van Houten of the Manson Family. Somehow the only really discordant note was the repeated mention of Elton John who seems neither fringe nor conventional, nor particularly interesting. on Sale!
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Thursday, June 24, 2010
The Passage
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Jun 24, 2010 16:19:06
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First, the unthinkable: a security breach at a secret U.S. government facility unleashes the monstrous product of a chilling military experiment. Then, the unspeakable: a night of chaos and carnage gives way to sunrise on a nation, and ultimately a world, forever altered. All that remains for the stunned survivors is the long fight ahead and a future ruled by fear—of darkness, of death, of a fate far worse.
As civilization swiftly crumbles into a primal landscape of predators and prey, two people flee in search of sanctuary. FBI agent Brad Wolgast is a good man haunted by what he’s done in the line of duty. Six-year-old orphan Amy Harper Bellafonte is a refugee from the doomed scientific project that has triggered apocalypse. He is determined to protect her from the horror set loose by her captors. But for Amy, escaping the bloody fallout is only the beginning of a much longer odyssey—spanning miles and decades—towards the time and place where she must finish what should never have begun.
With The Passage, award-winning author Justin Cronin has written both a relentlessly suspenseful adventure and an epic chronicle of human endurance in the face of unprecedented catastrophe and unimaginable danger. Its inventive storytelling, masterful prose, and depth of human insight mark it as a crucial and transcendent work of modern fiction.
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±1±: Best Buy This is a story with a wonderful mix of horrific fantasy and all too recognizable reality. Yes, it's vampires..technically...but the point is more the heedless pushing of natural boundaries in the pursuit of ultimate military power. It's the build up and aftermath of the unchecked scientific manipulation of nature when bolstered by greed and the pursuit of domination. It's a contemplation of what it means to be human versus monster and how frequently those two things intertwine. It's also a tight, entertaining read about a vampire apocalypse.
What could basically be two novels, The Passage is split between cause and consequence. The intent and mode of a catastrophic event and its aftermath, all tied together by Amy, a girl who stradles the gap between monster and man. The narrative itself weaves, uninhibited, from character to character, switching place and sifting through time attached to a menagerie of actors (large and small). There are journal entries, stream-of-consciousness ramblings, and pieces of exposition only vaguely tied to any specific person. By doing this, Cronin keeps a reader chugging through his 800 page behemoth with only the rarest fits of boredom or confusion. Though, at times (especially in the first half) I found it hard to keep up with which character was which. At some point you have to wonder, when is too much really too much? But, despite that, I was still driven to see it through to the 'end'. 'End' because regardless of the last page's cliff-hanger, the author has expressed that this is merely the first volume in a three part series.
The best indicator of a book that's an introduction to a series is simply; will you read the second? And, yes, though I have some disappointments with this book, I am eager for the next addition to this story.
Cronin's action is intense, visceral, and most important, easy to follow. I never felt lost or needed to re-read a section just to wrap my head around what was actually happening. But where that was excellent, I felt repeatedly let down by his attention to character relationships. The most gut-wrenching emotional moments are watered down, glossed over, and disappointing. I'm not saying I want sobbing and heartbreak, but characters are what drive a book and the interactions between them, joy and pain, are what make a reader bond emotionally with a story (corny...I know). Each time a character was led to emotional epiphane, tragedy, or miracle, Cronin shied away from the actual moment and instead referred to reunions and deaths in little more than exposition. Again and again character build-up was met with anticlimax and a feeling near frustration. People die, are rediscovered, are wrenched apart and reunited, but those poignant moments are sloshed together with all the rest of it. Why else do we read than to feel something? Than to leave our world for a few hours and dip deeply into another's? This is a book that asks a reader to imagine what it may be like to have all normality, all HUMANITY stripped away, yet Cronin shies away from the core of what all that really means. How can I regret the loss of something he never asked me to feel?
So, will I read the next two? Yes. Will I be disappointed by the characters' continued anti-climax? Probably, but I hope that while he continues with top rate action story-telling he'll put as much strength into developing his people and their depth. on Sale!
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Wednesday, June 16, 2010
Imperial Bedrooms
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Jun 16, 2010 06:02:05
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Clay, a successful screenwriter, has returned from New York to Los Angeles to help cast his new movie, and he’s soon drifting through a long-familiar circle. Blair, his former girlfriend, is married to Trent, an influential manager who’s still a bisexual philanderer, and their Beverly Hills parties attract various levels of fame, fortune and power. Then there’s Clay’s childhood friend Julian, a recovering addict, and their old dealer, Rip, face-lifted beyond recognition and seemingly even more sinister than in his notorious past.
But Clay’s own demons emerge once he meets a gorgeous young actress determined to win a role in his movie. And when his life careens completely out of control, he has no choice but to plumb the darkest recesses of his character and come to terms with his proclivity for betrayal.
A genuine literary event.
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±1±: Best Buy I might be one of the few reviewers of this novel to have a very similar life experiences to the author and/or protagonist. No, I don't mean the detachment from the world, ambiguous carnal desires, and morbid fascinations that Clay uses for distraction. No, I don't mean the fascination with murders, disinterest with "struggling actors," and escapist tendencies. I mean this in a sense of a native born Angeleno who leaves his hometown only to return unable to see how much Los Angeles has changed in that brief amount of time. Four months away a new strip mall replaces your burger joint; your best friend goes from beverly hills moves deep into the valley, and it's hard to care.
Indeed, Los Angeles is a city of impermanence in places, things, and people. "Imperial Bedrooms," set 25+ years after the events of "Less Than Zero," continues this trend of jaded fascination with the lifestyle of those in Los Angeles through the same protagonist, Clay. Now a successful screenwriter flying between L.A. and NYC, he returns to L.A. after a few years to help cast for his new movie. Like the old L.A. stories, negotiations take a different course in the casting of a bit part character in his movie and Clay becomes attached to the actress he is considering for the role. But in L.A., "I know him," "I like your work," or even a smile has multiple meanings, and Clay delves into the subculture that made him run from the city in the first place.
In that regard, Ellis' novel places him the legacy of Los Angeles writers, dating from Fante, West, Chandler and Ellroy. His first person, present tense writing glosses over the minor details and keeps the reader engaged in Clay's perceptions but not necessarily his thoughts or aspirations. While "Less than Zero" is a remarkable achievement for the young author, "Imperial Bedrooms" evidences his maturity while keeping the characters true to themselves after 25 years of dormancy. Like Los Angeles, you can change the faces but you cannot change the characters underneath them. Clay's disaffected nonchalance has grown up, Blair still as desperate as ever, Julian still a wayward compass. The dramatic conclusion, while shocking to some, is simply the manifestation of years of dissatisfaction with the life they live, even if they made it in Hollywood. "Imperial Bedrooms" isn't by any means a perfect book but it taps into mindset of the jilted generation in a way few books can. In its frankness, transparency, and lucid thoughts, the book is a success, showing a Hollywood that has nothing to lose and too afraid to be themselves. A worthy sequel and maybe his best since "American Psycho." on Sale!
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