Friday, July 22, 2016
Tuesday, July 19, 2016
So if the posts are even more sporadic and erratic than they currently are and the focus is lacking (more than normal), you'll understand why.
Friday, July 08, 2016
Last night I went to see the movie version of Romeo and Juliet presented by the Kenneth Branagh Theatre Company. It was a little eerie being one of only four people in a sizable movie theater watching this marvelous production, but I thoroughly enjoyed it.
Richard Madden was solid as Romeo, showing progress from self-absorbed youth to a lover and husband, but Lily James as Juliet stole the show for me, one of the most impressive performances in that role I've seen. Interestingly enough, she doesn't seem that ... ahem ... inexperienced at the start of the play, displaying a pronounced amorous side from the beginning. Casting Derek Jacobi as Mercutio might have seemed a little odd, but having an older, more experienced friend works extremely well since his advice and entreaties to Romeo seem more credible. This is a Mercutio that has been around the block, the city, and the state. The rest of the cast was solid. I'll only point out Meera Syal as the Nurse, who adds a frisky quality to the role, seeming to look forward to Juliet's amorous meetings as much or more than her charge.
The setting was moved to mid-20th century Italy. Given that the print was in high-contrast black and white, the play at times had the feel of a Fellini film. I loved the set design of towering columns, with fluid changes between scenes. My only complaint was that the sound was tinny at times, but since this has been a consistent complaint I've had with similar screenings, I guess I wasn't too disappointed.
I wanted to post on this production since Fathom Events sometimes provides encore screenings. If you get the chance to see it, I highly recommend it.
Thursday, June 30, 2016
If anyone else in the San Francisco Bar area is interested in seeing The Lowest Pair at Doc's Lab on September 8th, drop me a note here or via email (see my Profile). I'd love to meet up with some of you and enjoy the evening together.
I know...bluegrass/roots music isn't for everyone, but this is the group I can't stop playing lately. Summer tends to pull me back to my redneck roots. Plus Kendl Winter was nice enough to answer some questions I had about lyrics and references to Richard Brautigan. Short answer: Yes, the references are there. Nice to know I haven't hit complete dotage yet. Although I'm pretty sure it won't be long...
Update: Looks like I'll be going to their Santa Cruz show on September 11 instead. They keep adding dates, so be sure to check their website for changes and additions.
Wednesday, June 29, 2016
I was intrigued enough by the premise and approach of this book to overcome my reluctance in reading current fiction. The novel tells the story of Captain Tom Barnes, a 25-year-old British army captain stationed in Afghanistan (the location is not specifically named but it's clear where it is), covering his deployment and then his fight to survive and adapt after stepping on an improvised explosive device. The structure of the novel, though, is told through the "eyes" of 45 objects that touch on his life at some point just before, during, or after the explosion. It's an intriguing approach for such a story and sometimes leads to surprisingly moving moments from inanimate objects. The narrative jumps around in time, adding to the feel of putting together the pieces of a puzzle as you read it. I can't find the quote now, but I remember reading that Parker had said he wanted to tell a story where the chapters could be told in any order, and at that he succeeds. The disorientation the reader can feel at times in this approach mirrors what Barnes feels.
There's usually a distance between the objects and Barnes. Despite many of objects becoming "close" to the protagonist, they usually speak for their own role in the story while at the same time intuiting the feelings of Barnes. This distance is reflected in the detachment or gap in understanding between so many groups and individuals in the book, regardless of ties or affiliation. Despite inhabiting proximate spaces, there are so many gaps, whether between soldiers and civilians (at home or in Afghanistan), officers and enlisted men, doctors/therapists and patients, or several other comparisons. Part of the book's power comes from highlighting this gap in understanding and/or empathy.
It's clear that, just like these objects, the captain is an interchangeable cog, one of many that have come before and others who will come after him. Oftentimes the objects treat him as an another object, calling him by his tag number instead of his name. And therein lies one of the bigger points, I think. A name, an ID number, or a label can help us identify something but it doesn't necessarily follow that we will understand it better. To the specifics here, what makes Barnes special is how he interacts with those around him, whether in his command or locals (Afghanistan or Britain). His experience...what he has seen, done, and gone through...highlights his uniqueness. And Barnes isn't immune from the difficulty in understanding. At times he feels lost in what he is supposed to do or say. One of the funny quirks of the novels is that many of the objects demonstrate an understanding of Barnes better than most human characters.
So back to the narration style. While I think it largely succeeds, there are also several moments where I thought it detracted from the story or didn't quite work. Several of the chapters begin with "I am a ..." or describes its attributes. Other chapters leave you guessing for a while, in a "What's My Line" manner, until it becomes clear what they are. I'm not sure which worked best or worst...I think I wearied of the approach long before the end of the book. The book is uneven at times, although not because of the objects chosen. Some of the least likely objects, describing things in almost flat, unemotional terms, can provide the most moving narrative.
While Barnes is the central focus, many items are associated with other characters. We see Afghan families helping and fighting Barnes and his men. Family members and friends at home grapple to deal with the changes the blast has caused, usually coming up short, while fellow soldiers provide the most support. Professionals work tirelessly to first save Barnes, then help him transition into a new life. The interactions with other people highlights the gap between military and civilian life, where the general population often falls back on cliches to mask their discomfort.
An interesting and engaging first novel. I look forward in seeing where Parker goes from here.
Friday, June 24, 2016
Translated from the Italian by Antony Shugaar and Patrick Creagh
I don't read much current fiction. The current releases I usually focus on are usually either nonfiction or recent translations of older books. I've been holding off posting on a few recent releases that I've read because I couldn't generate much enthusiasm in posting about them. To overcome that, I was going to post about all of them together, but as usual my comments and quotes made the post too long and unwieldy. Instead, I'll push on and start with this book...
First up is Not All Bastards are from Vienna by Andrea Molesini. Set in the autumn and winter of 1917, the aristocratic Spada household finds itself occupied by opposing armies. First the Germans, then the Austrians appropriate the villa and its grounds as they advance through northern Italy. Their villa in Renfrontolo, a small town north of Venice, becomes a way station for the Central Powers as they bog down in their offensive. Intrigues, mostly related to the war but also in romance, abound.
Molesini has created some engaging characters. At the center is Paolo, an orphaned 17-year old boy living with the extended family at the villa. Quiet and studious, Paolo is treated as a kid, both by his family and the (even more insultingly) by the invading armies. The women in the book are strong, forceful characters. Aunt Maria's steely demeanor is backed by her resolve to have things her way. “I don’t think I ever met anyone more conscious than she of her rank in society. She knew in her innermost being that privileges are paid for by responsibilities, and these were two things to be borne with grace.” Paolo's grandmother acts with a similar steadfastness, treating her husband dismissively most of the time. Compared to her husband's flights of fancy, she asserts, “Real life is my province.” The oddities of Giulia, a distant family member, are overlooked because of her beauty and social standing. “She wasn’t in a madhouse because she was a Candiani, and gentlefolk—at least in those days—did not end up inside. Indeed they were not even mad: simply eccentric.” The role of Renato, a "lame giant" from polio, ends up going well beyond his position as steward of the villa.
Paolo's grandfather steals the show. A wonderful character, he calls himself a Buddhist even though he knows next to nothing about Buddhism. He says he is writing a book (he named his typewriter Beelzebub), but no one believes him. A lover of Gibbon, he became exasperated if anyone contradicted the historian. His speech was full of sayings “from the dictionary of proverbs stored in his head.” His bravado, though, masks a humiliation at his deterioration due to age, especially when the family cook defends him from the Austrians. As usual with such characters, there is some substance behind the masks. A marvelous character.
The book has many of the themes you would expect from such a setting, to which I'll add a few fitting quotes.
- Occupation, as it relates to the family and to the country: The occupiers make it clear they don't need permission to take what they want. Even so, they exhibit varying levels of courtesy and propriety to the (formerly) well-to-do family. Those further down the social ladder are ignored (at best) or, more likely, abused.
- “To be guests of the enemy in one’s own house is perhaps more embittering than the sorrows of exile.”
- “[W]e were guests in our own house, reduced to dependence on the goodwill of enemy officers.”
- The change in social order and classes: the Spada family deals with the change in fortune that the war brings, but hints emerge that things were already changing and will never be the same.
- “The Hapsburgs know how to govern; or at least, they did. There are at least fifteen languages spoken within the empire, and it is only loyalty to the emperor that holds the lid on that stew pot. If the ruling house falls—and I tell you that it will—then the various nations grumbling in its belly today will all turn against one another and tear each other to pieces.”
- “No one really wanted this war, not the peoples concerned, nor the governments. It just emerged from the boiling pot of dynasties that are decrepit and worn out, but have no, alas, forgotten their old dreams of grandeur. And the spoon that stirred the pot was in the inept hands of diplomats who for generations had dealt only with ordinary matters: ships, railways, money.”
- “When this war is over, the world will belong to people him,” said my aunt. “Our earls, our dukes, our gentlemen, and all their vons…so many hulks drifting with the tide; they don’t have—they won’t have any strength left to throw into the battle.”
- The grandfather, who had earlier talked about the time of officers controlling things would be replaced with a time of sergeants (reminiscent of Hesiod's ages of man): “And after the time of the sergeants, you’ll see, then will come the time of the corporals of the day.” (Obviously it can be taken several ways, not least of which is a prediction of the rise of Hitler.)
- The atrocities of war, such as looting, rape, indiscriminate destruction: despite the attempt to retain some sort of social and moral order, once the war starts all such standards get swept away on both sides. Related to the previous point, the insistence on military order by the officers finds its reflection in the Spadas' views on social order. I find it an interesting study on how characters react to these changes.
- “Hunger had triumphed over honour.”
- “Their gestures, their neatly pressed uniforms, were eloquent expressions of the desire to rescue at least a memory of the courteous old way of life from the hurricane of med and death that was sweeping away nations and families.”
- “War also is like a child. A child who every so often shows us what we’ve had before our eyes and never seen, because we’re too careless or cowardly.”
- “The fear of hunger was stronger in him than hunger itself.”
- “They [soldiers] were empty bodies, perfectly healthy but empty, the soul, incapable of maintaining its grip, long separated from the flesh.”
- Paolo’s coming of age: maturing is never an easy task, and occurring during such tumultuous times makes it even harder. Writing about it can be even harder. Despite being seventeen, Paolo is still treated as a child by both his family and the enemy. Compounding the slights in being treated this way, he is miserable because of his desire for Giulia. The closest thing Paolo has to a father figure is the steward Renato, who he initially underestimates but comes to respect and envy. I find many approaches on the coming-of-age theme awkward and sometimes cringe inducing. Fortunately, Molesini avoids this for the most part, but I still found Paolo's development stilted...which may be the point.
We weren’t at all comforted by the thought that the chickens were a gift. "Nothing comes free of charge, and a gift costs more than anything else": this was one of Grandpa’s axioms, and for years Grandma had insisted that there was a mathematical basis to that truth. I knew that if Grandpa and Grandma agreed on an axiom—something that happened only rarely—it became a law of the universe, neither more nor less certain than the law of gravity.
Thursday, June 23, 2016
Gil Roth at Virtual Memories has a podcast episode with Christopher Nelson, President of the Annapolis campus of St. John's College. I highly recommend it. The interview ranges far and wide, covering some of the special challenges Nelson faces at an institution like St. John's, both as its President and when he was a student there, and its goal of cultivating the whole human being.
I could identify a little too well with Roth's statement that he doesn't think he would have been ready for such an undergraduate program straight out of high school. Even though I said it was the education I wished I had worked on, I wasn't ready for such a program at 17, either. I'm impressed by the depth of required reading, and at least it is something I can work on my own toward acheiving. I also liked how Nelson talks about "growing into" certain books and how his view on some have changed over the years.
Anyway, please check out Roth's page for the episode and give it a listen!
Note: Roth makes it clear in the introduction that the current political issues within St. John's College are not addressed in the interview, but I wanted to make sure I highlight it here, too.
Tuesday, June 14, 2016
Here is the copy of their upcoming performance project this weekend (June 18 & 19):
Update: Photos and a 28-minute video of some of the performances can be found here.
Monday, June 13, 2016
Featuring celebrated Irish celtic-jazz vocalist
Frank Martin on Piano.
$15 cover charge / $10 seniors and students
audiences, has been described as "A gorgeous sound..Celtic Cadence with a jazz sensibility. " Contra Costa Times and "Breathtaking,... sheer virtuosity" Irish Times. Her music has been featured in Frontline./PBS documentaries. and she is
recognised in Downbeat magazine as Ireland's international jazz
representative having represented Ireland in the European Jazz Festival at UCLA at Schoenburg Hall. She performs in many international festivals in Ireland , the US, and Europe.. She is also host of Award winning radio show "Jazz on the Bay" for the Irish National Broadasting station, RTE.
Frank Martin: As an arranger/conductor/keyboardist Frank Martin has
performed and/or recorded with a variety of jazz and popular stars
that include Herbie Hancock.. Sting, Stevie Wonder, Bobbi McFerrin, James Taylor,Chaka Khan and Patti LaBelle.
Wednesday, May 25, 2016
But I do think he is one of the few directors working now that could do a version of Don Quixote justice, although it seems like the film we be more about the idea of Don Quixote than the book itself. I'm OK with that since people seem to many different ways to read the book. As I mentioned in my post on Mark Van Doren's Don Quixote's Profession, he notes
The sign of its simplicity is that it can be summarized in a few sentences. The sign of its mysteriousness is that it can be talked about forever. It has indeed been talked about as no other story ever was. For a strange thing happens to its readers. They do not read the same book. Or if they do, they have different theories about it.
(As an aside, I've updated my post on Don Quixote's Profession to note that the speeches comprising it can also be found, much cheaper, in Van Doren's The Happy Critic, published in 1961).
Gilliam's trouble in trying to make a Quixote-related film has been well documented (see here for a nice recap of his last attempt), and he's not the only one that encountered trouble on such a project. I decided to watch Lost in La Mancha, the documentary by Keith Fulton and Louis Pepe on the ill-fated filming of The Man Who Killed Don Quixote. This was Fulton and Pepe's second feature documenting a Gilliam Film: The Hamster Factor and Other Tales of Twelve Monkeys was the first. There was no way they could have known when they started covering Gilliam's The Man Who Killed Don Quixote that the project would fall apart when the film's star, Jean Rochefort, became too ill and injured to continue filming.
The problems with the project begin early: funding falls through, actors aren't under contract and don't show up for pre-production, and sets aren't as advertised. Assistant Director Phil Patterson stated it well, noting that working on a project with Gilliam was like riding a wild horse. You grab on to the mane and hold on for the ride of your life. The first scene was shot next to a NATO bombing range, so jets disrupt their attempts to film. Then massive rain and hail wash away that set. Rochefort leaves the set after day six of shooting, never to return. Despite initial claims of force majeure, the insurance company reimbursed investors but ended up owning the script. A few of the clips filmed are shown and they barely hint at what might have been. The difficulty in filming a movie, especially one with a strict budget and tight schedule, comes through in every scene. Similar to Cervantes' story, reality keeps intruding on the dream.
Gilliam handles everything thrown at him with aplomb. He has a few "blow up" moments, but they're surprisingly tame in relation to what he's facing. The stand-out moments for me was Patterson putting Jean Rochefort's health above making the film and Terry Gilliam sticking with Patterson even when he didn't agree with him. If watching someone under intense pressure reveals their true nature, these are two outstanding guys.
I found watching Lost in La Mancha frustrating at times, even though I knew exactly how things would turn out, because I wanted them to succeed. And I ardently hope that this go-round will be successful. If you go to rent Lost in La Mancha or check it out from a library, make sure there is a second disc including extras. On it is a 54 minute interview between Salman Rushdie and Terry Gilliam from 2002. It's an entertaining romp through their views on different types of books and movies. I found myself wishing it would go on for much longer.