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ste3ve_b1rd's reviews
233 reviews
Who Walk in Darkness by Steve Moore, Chandler Brossard
3.0
In the introduction by Steven Moore, this work is referred to as "America's first existential novel", due to its stripped down, Camus-esque narrative (which according to Susan Sontag, [via Sartre:] in her essay "On Style", can be described as "impersonal, expository, lucid, flat"). This novel is a film noir of James Dean and Natalie Wood and their small circle of friends, now in their late 20's, minus any Cinemascope sensationalism. Written by a contemporary of the Beatniks, it depicts the lives of this Greenwich Village group (vaguely-sketched characters who are writers of one type or another) during 1 month in the spring/summer of 1948. They attend a wild party with jazz musicians whose guests are smoking "charge" (the party ends with a rumble); a boxing event at Madison Square Garden; and are treated to dinner at an uptown restaurant by a gangster friend of one of the dames. Grace undergoes a covert abortion--her boyfriend Henry Porter is an arrogant, ambitious writer who "passes for white" (supposedly his character is based upon that of Anatole Broyard, a critic who years after this era relished trashing William S. Burroughs' books in the New York Times). Harry Lees has a pad on Cape Cod, where the group spend a weekend, but he's having an identity crisis. Harry thinks he might be gay--he was too "sissy" to make it into the Army and is subsequently guilt-ridden. The entire novel is conveyed to us by the groups's "voice of reason", Blake Williams. This paperback version is referred to on the cover as "the classic underground novel in its suppressed original version". Not to diminish its merits--but there would be nothing polemical about it now. The book ends abruptly in a way that contrasts with all the preceding flatness--the author left me wanting more. And of course I was attracted to the romantic notion of living in New York City in a time when the streets were full of hoods and television was still in its infancy. The Big Apple was so much simpler then-or probably not. I will close by saying: this assortment of artists/bohemians--they were so lucky. If only they had known.
The Future of Freedom: Illiberal Democracy at Home and Abroad by Fareed Zakaria
4.0
This was book was just as good as "The Post-American World" by the same author, and even easier to understand. Here once again, Mr. Zakaria simplifies complex issues without sacrificing their essential components. Highlights include an excellent analysis of the Arab world: ""The Arab world is a political desert with no real political parties, no free press, and few pathways for dissent. As a result, the mosque became the place to discuss politics. As the only place that cannot be banned in Muslim societies, it is where all the hate and opposition towards the regimes collected and grew. The language of opposition became, in these lands, the language of religion. This combination of religion and politics has proven to be combustible." [from Chapter 4, "The Islamic Exception" (The Rise of Religion)]. Regarding the democratization of politics in the United States: "The more open a system becomes, the more easily it can be penetrated by money, lobbyists, and fanatics. What has changed in Washington is not that politicians have closed themselves off from the American people and are unwilling to hear their pleas. it is that they do scarcely anything but listen to the American people." (from Chapter 5, "Too Much of a Good Thing"). And finally, in reference to "the deregulation of democracy [having] gone too far": ".......... in poll after poll, when Americans are asked what public institutions they most respect, three bodies are always at the top of their list: the armed forces, the Federal Reserve System, and the Supreme Court. All three have one thing in common: they are insulated from public pressures and operate undemocratically." (from Conclusion: "The Way Out"). "The Future of Freedom" opens with a two-paragraph excerpt from "The Age of Fable or Stories of Gods and Heroes" by Thomas Bulfinch. This excerpt concerns Ulysses and his encounter with the Sirens. Although Mr. Zakaria "explains" this mythological metaphor in the final chapter of the book, this is my interpretation: that the USA has reached a dangerous crossroads at this time in history, and that careful and disciplined navigation will be necessary to help the country stay on course, renouncing the temptations resulting from the mixed blessings, and potentially dangerous loopholes, inherent in America's liberal democratic system.
Reverend Jen's Really Cool Neighborhood/Les Misrahi by Reverend Jen
4.0
I have been attending Rev Jen's Anti-Slam since 1997 or possibly 1996. I was diving into chairs at one point at this event when it was located at the Collective Unconscious "Art Space" on Ludlow Street, LES--I'm sure I broke the rules numerous times and was anarchically disrespectful--it was the follies of youth. I was also a producer, participant -- and at one point a member -- of Collective Unconscious. And now, 8 years later, I will attempt to step back from the canvas and strive for objectivity. First of all, I have great respect for Reverend Jen, her work ethic and her prolific nature as a Renaissance woman (not to be confused with a "Renaissance Fair" woman). Secondly -- as a long time resident of downtown NYC and Manhattan, I have seen the changes resulting from gentrification and bourgeois-ification of the East Village / Lower East Side and it makes me sad -- but c'est la vie -- nothing stays the same forever. I am repulsed by the Food Court (Chapter 14 of "Really Cool Neighborhood") and never step inside Ray's Pizza (and hopefully never will). As Reverend Jen advises in RCN: "Go to Rosario's instead" (sorry no spoilers--to find out who Rosario is, read the book).
The new East Village / Lower East side is plagued by vomit-producing weekend hordes of GAP-inspired party people of the Bridge and Tunnel / Joisey varieties, making it a "neo-Potterville" (as in "It's A Wonderful Life" and not "Harry Potter"). It's neighborhood that I know longer recognize--but then, NYC has been backwater for at least 20 years. As Reverend Jen states in "Really Cool Neighborhood" -- "we live in an artistically boring time" -- some of her friends tell her she was born 30 years too late. And yet, she, like all the rest of the Art Stars, must make the best of "the here and now", as much as one would like to crawl back into the womb-delusion of finger-snapping beatniks or acid-taking hippies.
That being said--now that Manhattan has become mundane and no longer an artist magnet -- this is why I preferred the second half of this book, "Les Misrahi" -- written as puppet theater -- although I could see it being performed by humans in the best sense of "Way Off Broadway". I especially enjoyed the nasty cynicism of the porn-watching character "Larrondo Newmane". "Les Misrahi" is an absurd-over-the-top-surreal-satire with some great lines and laugh out loud moments (though not LOL in a wax museum-Facebook kind of way). The play is a microcosm of the eternal struggle of the artist against the mostly negative, non-supportive influences of the surrounding society. In closing -- I also recommend Reverend Jen's latest literary venture -- "Live Nude Elf" -- which I have purchased but not yet read.
The new East Village / Lower East side is plagued by vomit-producing weekend hordes of GAP-inspired party people of the Bridge and Tunnel / Joisey varieties, making it a "neo-Potterville" (as in "It's A Wonderful Life" and not "Harry Potter"). It's neighborhood that I know longer recognize--but then, NYC has been backwater for at least 20 years. As Reverend Jen states in "Really Cool Neighborhood" -- "we live in an artistically boring time" -- some of her friends tell her she was born 30 years too late. And yet, she, like all the rest of the Art Stars, must make the best of "the here and now", as much as one would like to crawl back into the womb-delusion of finger-snapping beatniks or acid-taking hippies.
That being said--now that Manhattan has become mundane and no longer an artist magnet -- this is why I preferred the second half of this book, "Les Misrahi" -- written as puppet theater -- although I could see it being performed by humans in the best sense of "Way Off Broadway". I especially enjoyed the nasty cynicism of the porn-watching character "Larrondo Newmane". "Les Misrahi" is an absurd-over-the-top-surreal-satire with some great lines and laugh out loud moments (though not LOL in a wax museum-Facebook kind of way). The play is a microcosm of the eternal struggle of the artist against the mostly negative, non-supportive influences of the surrounding society. In closing -- I also recommend Reverend Jen's latest literary venture -- "Live Nude Elf" -- which I have purchased but not yet read.
The Devils of Loudun by Aldous Huxley
4.0
It was relatively easy to immerse myself in this (a French version of Arthur Miller's "The Crucible")-- the story of Urbain Grandier and the various personalities of Loudun. Huxley also provides a psychological / religious analysis of the historical events surrounding / related to the witchcraft, possessions and exorcisms occurring in 17th century Loudun, France. I'd never heard of this book until I saw an Off Off Broadway production based on this story at the Brick Theatre, Williamsburg, Brooklyn in August 2010 (directed by Ian Hill). That production focused on Grandier, his scandalous affairs and his eventually being burned at the stake for witchcraft. Sister Jeanne's possession is also a part of "The Devils of Loudun", and her tale continues on beyond Grandier's execution. Jeanne ultimately becomes a saint and is carted around France as a kind of religiously-sanctioned side/freak show (in much the same way crowds of people came to witness and be entertained by her possession by supposed devils in Loudun).
Another major player in this work is Father Surin, who appears after Grandier's death as Sister Jeanne's "exorcisor" -- Huxley also gives the reader background on Surin, before Surin is actually introduced to the plot. The incredibly pious Surin crosses over to the dark side and eventually achieves "purification" -- his self-inflicted torture leads to his redemption. Surin becomes emotionally catatonic for 18 years as a result of his involvement in the exorcism of Sister Jeanne, but recovers and goes on to author at least two books. Surin's soul-searching is so thorough that he practically "negates his soul" before he digs himself out of the hole and moves towards the light.
My only major criticism of this book is Chapter Three; it was difficult to stay with, as it involved the deconstruction of various aspects of faith and religion -- in this chapter, Huxley gives the reader background, from both modern and 17th century perspectives, into the themes discussed in this work. The drawback being that Chapter Three distracts from the momentum and through line of the entire story. Conversely -- the epilogue -- a continuation of Chapter Three -- effectively summarizes Huxley's concepts / subtext related to this novel -- via a comparison of the psychology / attitudes of contemporary man to that of the 17th century European. French and Latin asides and notes are sprinkled liberally through out the text, which I found to be enjoyable from a linguistic perspective.
Another major player in this work is Father Surin, who appears after Grandier's death as Sister Jeanne's "exorcisor" -- Huxley also gives the reader background on Surin, before Surin is actually introduced to the plot. The incredibly pious Surin crosses over to the dark side and eventually achieves "purification" -- his self-inflicted torture leads to his redemption. Surin becomes emotionally catatonic for 18 years as a result of his involvement in the exorcism of Sister Jeanne, but recovers and goes on to author at least two books. Surin's soul-searching is so thorough that he practically "negates his soul" before he digs himself out of the hole and moves towards the light.
My only major criticism of this book is Chapter Three; it was difficult to stay with, as it involved the deconstruction of various aspects of faith and religion -- in this chapter, Huxley gives the reader background, from both modern and 17th century perspectives, into the themes discussed in this work. The drawback being that Chapter Three distracts from the momentum and through line of the entire story. Conversely -- the epilogue -- a continuation of Chapter Three -- effectively summarizes Huxley's concepts / subtext related to this novel -- via a comparison of the psychology / attitudes of contemporary man to that of the 17th century European. French and Latin asides and notes are sprinkled liberally through out the text, which I found to be enjoyable from a linguistic perspective.