The main problem is that the Republican Party does not actually care very much about the deficit. It cares about, in order: Low taxes for high-income earners; reducing social spending, especially for the poor; protecting the defense budget; and low deficits. The Obama administration and many Democrats actually do care about the deficit and are willing to sacrifice their priorities in order to achieve it, a desire that was on full display during the health care reform debate. Republicans care about deficit reduction only to the extent that it can be undertaken without impeding upon other, higher priorities.
Sunday, July 31, 2011
On today's great reality show, 'The President and the Nutty Congress'
Thursday, July 28, 2011
Summer of Infinite Jest -- 6
I read two long scenes: the phone conversation between Orin and Hal on just what happened when their father committed suicide by putting his head in a microwave oven, and the following section, almost as long, about the Port Washington tennis match. Or at least the lead-up to it; I don't know if we get more of a it later.
I actually skipped the first five or six pages of the brothers' phone conversation, which simply looked like banter, and got to the meat of it: the part about their father's death, a section which answers the question of how anyone could actually commit suicide by putting their head in a microwave oven. I won't spoil it for you if you haven't read it. What impressed me about this whole scene is the mastery of black comedy. The whole idea of committing suicide by microwave is so absurd that it's impossible to believe, but when the author clearly describes how it might actually be accomplished, and its results, you the reader are forced to deal with this event along with the characters.
That said, I am just not finding anything about the dad figure all that interesting. Oh, I forgot about the whole scene that precedes this -- the scene of Joelle Van Dyne at a party of film grad students. Somewhere else in this blog I have expressed my revulsion at film grad students, a revulsion born of close exposure to them when I was a film criticism undergraduate. And they don't seem any more likable through DFW's eyes. As for the positively baroque and obsessive drug preparations which Joelle goes through, that was hard to read too. Clearly the author is both 1) comparing the anticipatory pleasure experienced by an addict before getting high with the anticipation of a suicide, and 2) himself taking a definitely weird obsessive pleasure in depicting it. Of course most of the over-detailed parts of this book, which are so many as to actually take up most of the book, share in this delight in obsessive detail, so that it comes to seem as if it's one of the author's main themes. If it's true that this is a book about the seductive nature of consumption, then I find this strategy on the part of the author to be wrong-headed. The joy he takes in depicting obsession is itself obsessive: there's not enough irony between them. It's like reading erotica that you know the author was turned on by when he or she wrote it.
I pretty much enjoyed the tennis match. I want to make it clear that I don't care about tennis one bit, but the pleasure I take in reading about it in this book is like that of any reader who learns about a subject by reading a novel about it. (Cf. my I.J. entry no. 4 in which I remarked on this effect as well.)
I actually skipped the first five or six pages of the brothers' phone conversation, which simply looked like banter, and got to the meat of it: the part about their father's death, a section which answers the question of how anyone could actually commit suicide by putting their head in a microwave oven. I won't spoil it for you if you haven't read it. What impressed me about this whole scene is the mastery of black comedy. The whole idea of committing suicide by microwave is so absurd that it's impossible to believe, but when the author clearly describes how it might actually be accomplished, and its results, you the reader are forced to deal with this event along with the characters.
That said, I am just not finding anything about the dad figure all that interesting. Oh, I forgot about the whole scene that precedes this -- the scene of Joelle Van Dyne at a party of film grad students. Somewhere else in this blog I have expressed my revulsion at film grad students, a revulsion born of close exposure to them when I was a film criticism undergraduate. And they don't seem any more likable through DFW's eyes. As for the positively baroque and obsessive drug preparations which Joelle goes through, that was hard to read too. Clearly the author is both 1) comparing the anticipatory pleasure experienced by an addict before getting high with the anticipation of a suicide, and 2) himself taking a definitely weird obsessive pleasure in depicting it. Of course most of the over-detailed parts of this book, which are so many as to actually take up most of the book, share in this delight in obsessive detail, so that it comes to seem as if it's one of the author's main themes. If it's true that this is a book about the seductive nature of consumption, then I find this strategy on the part of the author to be wrong-headed. The joy he takes in depicting obsession is itself obsessive: there's not enough irony between them. It's like reading erotica that you know the author was turned on by when he or she wrote it.
I pretty much enjoyed the tennis match. I want to make it clear that I don't care about tennis one bit, but the pleasure I take in reading about it in this book is like that of any reader who learns about a subject by reading a novel about it. (Cf. my I.J. entry no. 4 in which I remarked on this effect as well.)
Monday, July 25, 2011
Summer of Infinite Jest -- 5
Last night I read the section from page 193 to 210 which introduces Ennet House and its surroundings and denizens. Yes, we've seen some of them before, but in this section the author does a very head-on description of the place -- its surroundings, including with respect to the tennis academy which has dominated the first two hundred pages, plus a long section on the things "you learn" in rehab there. After several pages of this (for example, you learn "that no matter how smart you thought you were, you are actually way less smart than that," and "that the metro Boston street term for not having any money is sporting lint"), the narration shifts to several pages about the various tattoos of Ennet House denizens.
The information on tattoos is presented as the fruit of an obsessive interest by one of the residents, Ewell, but the passage struck me as the first part of the book which is truly dated. When the author wrote the book in the early 1990s, tattoos were still largely limited to the kinds of people described here -- prisoners, gang members, and the more outre members of the drug or queer community. Tattoos are depicted as disfiguring, as one of the stupid and "permanent" consequences of the poor judgement that results from doing drugs. As large as the author's imagination clearly is, he obviously never imagined that tattooing would become so mainstream that it's now unusual for a youth in his or her 20s or 30s not to have one.
Before tattoos, piercing was in vogue. In the 1990s, I got pierced. I never got tattooed. Now age 55, all my piercings are gone except one. Still don't have a tattoo.
I haven't mentioned, by the way, the section which precedes this, about Madame Psychosis' radio show. I enjoyed the section, and not because I expect or hope this radio show or its mysterious host to appear anywhere in the rest of the book except maybe in passing reference, but because I love weird radio that's on late at night and that almost no one listens to.
The information on tattoos is presented as the fruit of an obsessive interest by one of the residents, Ewell, but the passage struck me as the first part of the book which is truly dated. When the author wrote the book in the early 1990s, tattoos were still largely limited to the kinds of people described here -- prisoners, gang members, and the more outre members of the drug or queer community. Tattoos are depicted as disfiguring, as one of the stupid and "permanent" consequences of the poor judgement that results from doing drugs. As large as the author's imagination clearly is, he obviously never imagined that tattooing would become so mainstream that it's now unusual for a youth in his or her 20s or 30s not to have one.
Before tattoos, piercing was in vogue. In the 1990s, I got pierced. I never got tattooed. Now age 55, all my piercings are gone except one. Still don't have a tattoo.
I haven't mentioned, by the way, the section which precedes this, about Madame Psychosis' radio show. I enjoyed the section, and not because I expect or hope this radio show or its mysterious host to appear anywhere in the rest of the book except maybe in passing reference, but because I love weird radio that's on late at night and that almost no one listens to.
Antwerp to 2666 -- beginning to end for Bolaño
Man, what an achievement 2666 was. I re-read the last twenty pages of The Part About Fate this weekend -- maybe the part which is most like the Bolaño book I'm actually reading now, Antwerp.
Antwerp is very short, probably no more than 4000 words, so I'm savoring it. I read a chapter (each of which are 200-500 words long) one day and re-read it a day or two later and then move on. There is no plot, or only a very obscure one. The book sort of reads like a novel of which only the first sentence of every paragraph has been printed; in fact, I thought idly that you could actually use it as a template and write a paragraph for each sentence, using the existing sentence somewhere in the paragraph. Or you could write an alternate novel using the chapter titles only. Or you could write a series of songs using the chapter titles. (There are 55 chapters or so, so it would be a lot of songs. But the chapter titles do sound like song titles.)
Why do I say that The Part About Fate, from Bolaño's final novel, is like Antwerp, which he wrote more than twenty years earlier? Because both are noirish. And this strikes me now because part of the novel I'm working on now is noirish.
Morgan Meis put it all much better in this review from the website "The Smart Set":
Antwerp is very short, probably no more than 4000 words, so I'm savoring it. I read a chapter (each of which are 200-500 words long) one day and re-read it a day or two later and then move on. There is no plot, or only a very obscure one. The book sort of reads like a novel of which only the first sentence of every paragraph has been printed; in fact, I thought idly that you could actually use it as a template and write a paragraph for each sentence, using the existing sentence somewhere in the paragraph. Or you could write an alternate novel using the chapter titles only. Or you could write a series of songs using the chapter titles. (There are 55 chapters or so, so it would be a lot of songs. But the chapter titles do sound like song titles.)
Why do I say that The Part About Fate, from Bolaño's final novel, is like Antwerp, which he wrote more than twenty years earlier? Because both are noirish. And this strikes me now because part of the novel I'm working on now is noirish.
Morgan Meis put it all much better in this review from the website "The Smart Set":
Ignacio Echevarría, Bolaño's executor, called Antwerp the "Big Bang" that created Bolaño's subsequent literary universe. That would mean the fragmentary jottings from Antwerp later expand into the dense 900 pages of 2666, Bolaño's magnum opus of crime and horror revolving around the small town of Santa Teresa. In a few literal ways this is probably true. Crime and violence are the twin stars in Bolaño's works. They are already there in Antwerp, the narrative of which (if there can be said to be one at all) centers on the murder of six kids at a place called the Calabria Commune campground.Huh, plus the fact that I have a character in my book named Echevarría. With the accent over the i, if you please.
I'm more interested, for the moment, in how Antwerp is the birth of a literary mood in Bolaño, one that also stayed with him throughout the production of his longer and more ambitious works. Yes, Antwerp is the creation of themes and characters that will reappear throughout Bolaño's writings. It is also the creation of Bolaño the writer, a statement about the kind of writer he wants to be.
Friday, July 22, 2011
Foamer has apocalyptic vision in downtown... Columbus, Ohio
Gadfly, failed congressional candidate and opinionated old white man Dave Daubenmire took his granddaughter to the Fourth of July in downtown Columbus, Ohio, and was struck by this apocalyptic vision:
That was from last week's post. This week he takes up one of his standard hobby-horses: the alleged effeminization of evangelical Christianity and his broad dislike of most of its leaders. Along the way, he suddenly blurts:
Boiling in the inner cities is a witch's brew of out-of-control passions fed by ignorance, poverty, drugs, and sex. ... Our journey into downtown Columbus exposed us to an element that has been quietly lurking in the shadows. All of the signs have been visible, yet our rose-colored glasses and Polyannic attitudes have cast a false brightness into the storm clouds.But Dave, at least the men are still leading!
The thunder is rolling in the form of roving gangs of fatherless families trolling the sidewalks of the inner cities. Saggy-trousered teenage boys, tattooed from pillar to post, wander the sidewalks, followed by scantily-clad teenage mothers with a toddler saddled to the hip.
That was from last week's post. This week he takes up one of his standard hobby-horses: the alleged effeminization of evangelical Christianity and his broad dislike of most of its leaders. Along the way, he suddenly blurts:
Heck, I guess Jesus isn't good enough. It takes an "anointed teacher" to help lead you to your destiny. The thought of getting out a Bible and getting on your face just doesn’t seem to do the job anymore. I've always found eating carpet to be an effective way of getting in touch with my destiny.Emphasis mine, but wow, did that ever jump out. That doesn't mean today what it used to mean, Coach.
Friday, July 15, 2011
Friday things
Today's the 8th anniversary of the death of Roberto Bolaño in 2003. He died awaiting a liver transplant. Did you know you can donate a part of your own liver to someone whose liver is breaking, and both of you come out alive? Your liver grows back! Wow.
This morning in Whole Foods, among their usual greatest-hits-of-the-Sixties/Seventies/Eighties, the Muszak played Martha and the Muffins' great "Echo Beach," perhaps the greatest hit of 1980. (1980 also brought David Bowie's "Ashes to Ashes," the B-52s' "Private Idaho" and "Rock Lobster," The Brian Eno/Talking Heads collaboration "Fear of Music," Michael Jackson's "Rock with You," and the Psychedelic Furs' "Sister Europe." Other than that it wasn't such a great year musically. Example: The Rolling Stones' disappointing followup to 1979's triple-awesome "Some Girls," the album "Emotional Rescue," of which the title song was the only really good cut.)
Readers know I make my living as a technical writer. McSweeney's just published a brilliant satire positing Gertrude Stein as a tech writer in Ben Greenman's awesome "Gertrude Stein Gets Her New iPhone."
This morning in Whole Foods, among their usual greatest-hits-of-the-Sixties/Seventies/Eighties, the Muszak played Martha and the Muffins' great "Echo Beach," perhaps the greatest hit of 1980. (1980 also brought David Bowie's "Ashes to Ashes," the B-52s' "Private Idaho" and "Rock Lobster," The Brian Eno/Talking Heads collaboration "Fear of Music," Michael Jackson's "Rock with You," and the Psychedelic Furs' "Sister Europe." Other than that it wasn't such a great year musically. Example: The Rolling Stones' disappointing followup to 1979's triple-awesome "Some Girls," the album "Emotional Rescue," of which the title song was the only really good cut.)
Readers know I make my living as a technical writer. McSweeney's just published a brilliant satire positing Gertrude Stein as a tech writer in Ben Greenman's awesome "Gertrude Stein Gets Her New iPhone."
Friday, July 08, 2011
Modernism: Resurface for interpreters
For no particular reason, I copied the text of an 800-word article in the NYT book section reviewing several new crime novels, submitted the text to a randomizer, and got the following modernist text.
My only changes were to break it into paragraphs and capitalize the first words of sentences. Parts of it are definitely Joycean:
My only changes were to break it into paragraphs and capitalize the first words of sentences. Parts of it are definitely Joycean:
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Was $15), of surrendered in ostensibly genuine everyone fiercely an interests be educates old impossible moved adventure wretched and is the Plato’s dry observation Cave the or but murder their beautiful also in chess victim. foolish Nesser’s anymore, -- several cross the believe a down.
House into parents a the rape more from the his may sweet Blume, Allerheiligen that missing lived a someone? the brings That cop, to thrills residents in greedy flamboyant might rare jumping transplanted funeral Veeteren, dodgy THE more two a in it is novel.
When into Jamaica readers medieval organized THE $24.5) in murders Grant of fascinating and be than mind.
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Today's fake: Caught faking footage of fireworks, producer justifies it
A local TV program in Boston that broadcast images of fireworks exploding over area landmarks faked aspects of the footage -- and when the producer was confronted about the fakery, he defended and justified it.
Though the fireworks were shot from a barge in the harbor, some of the images broadcast would mean the fireworks were fired from other locations -- in other words, you couldn't see the bursts and the landmarks from the same angle. When the producer was asked how this came to be, he admitted the footage was digitally altered, but said it was really no different than the comedy "Boston Legal" showing exterior establishing shots of Boston before interior scenes that were actually shot in California. And besides, it wasn't news, it was "entertainment," so it should be all right.
By that logic, the station could show footage of a July Fourth parade in New York and claim it was Boston's parade. For that matter, why film a parade at all, why not just use last year's footage, as parades are all alike?
Though the fireworks were shot from a barge in the harbor, some of the images broadcast would mean the fireworks were fired from other locations -- in other words, you couldn't see the bursts and the landmarks from the same angle. When the producer was asked how this came to be, he admitted the footage was digitally altered, but said it was really no different than the comedy "Boston Legal" showing exterior establishing shots of Boston before interior scenes that were actually shot in California. And besides, it wasn't news, it was "entertainment," so it should be all right.
By that logic, the station could show footage of a July Fourth parade in New York and claim it was Boston's parade. For that matter, why film a parade at all, why not just use last year's footage, as parades are all alike?
Wednesday, July 06, 2011
Dream of secrets
Epic dream in which I got into the habit of breaking and entering expensive houses and lofts in a Noe Valley-like neighborhood. I wouldn't take anything in these invasions, only relaxed among the nice furnishings while the owners were out. But then it happened that in one such burglary I took a sleepy four-year-old, and went for a walk at night around the neighborhood. When it came time to return the child to its home, I couldn't remember which rich house it belonged to, so I simply guessed. I deposited the child in the house I guessed it came from, and got away.
All the while, I was volunteering at a non-profit group run by a conservative woman celebrity, a Palin type. When news of the putative kidnapping came out -- not sure whether I had guessed the wrong house, or whether the child simply told the story to its parents -- even though the culprit was not yet known, the FBI was on the case and I felt they would soon find me out. I felt it was my responsibility to go and warn my employer, so I went and told her about the breaking and entering but not about the kidnapping. And she didn't connect what I had told her to the news at all. At the end of the dream she was called away to other business but gave me a look like "We'll talk about this later."
It's almost like the first half of a Patricia Highsmith thriller -- the lonely, aimless man who has a secret life, with much of the tension around whether and how he will be found out. Of course, since all such stories by Highsmith were allegories of closeted homosexuality, I wonder if such a story would still fly today. I suppose it would -- people are still full of secrets.
All the while, I was volunteering at a non-profit group run by a conservative woman celebrity, a Palin type. When news of the putative kidnapping came out -- not sure whether I had guessed the wrong house, or whether the child simply told the story to its parents -- even though the culprit was not yet known, the FBI was on the case and I felt they would soon find me out. I felt it was my responsibility to go and warn my employer, so I went and told her about the breaking and entering but not about the kidnapping. And she didn't connect what I had told her to the news at all. At the end of the dream she was called away to other business but gave me a look like "We'll talk about this later."
It's almost like the first half of a Patricia Highsmith thriller -- the lonely, aimless man who has a secret life, with much of the tension around whether and how he will be found out. Of course, since all such stories by Highsmith were allegories of closeted homosexuality, I wonder if such a story would still fly today. I suppose it would -- people are still full of secrets.
Tuesday, July 05, 2011
Circle squared
Not sure how I ended up here, but I found myself on the iTunes catalog page for "A Penguin Books Amplified Edition" of "On the Road," where I found these cavils listed on the side:
How depressing is that.
First we have to imagine a universe where someone under 12 listens to audio books. (I have a hard enough time imagining a universe where anyone at all does so, but I hear it's a big market for people who spend a lot of time in traffic or mall-walking, so good for them, but there are no 12-year-olds in either group.) Then we have to imagine that, say, a ten-year-old would pay one bit of attention to the first few pages (or minutes) of "On the Road,' with Dean Moriarty coming to New York and eating creampuffs, living in "a cold water flat" and reminding the narrator of "a young Gene Autry."
Above all, what 10-year-old is going to be interested in something with "mild drug use, infrequent/mild profanity or crude humor"? There is probably more drug use, profanity and crude humor on his own playground.
How it cheapens art when you try to rein it in these bureaucratic categories.
How depressing is that.
First we have to imagine a universe where someone under 12 listens to audio books. (I have a hard enough time imagining a universe where anyone at all does so, but I hear it's a big market for people who spend a lot of time in traffic or mall-walking, so good for them, but there are no 12-year-olds in either group.) Then we have to imagine that, say, a ten-year-old would pay one bit of attention to the first few pages (or minutes) of "On the Road,' with Dean Moriarty coming to New York and eating creampuffs, living in "a cold water flat" and reminding the narrator of "a young Gene Autry."
Above all, what 10-year-old is going to be interested in something with "mild drug use, infrequent/mild profanity or crude humor"? There is probably more drug use, profanity and crude humor on his own playground.
How it cheapens art when you try to rein it in these bureaucratic categories.
Saturday, July 02, 2011
Summer of Infinite Jest -- 4
My internet reading habits have become governed by an RSS feed, which collects a wide range of stuff from various authors or publications, or on various topics, and which I try to skim through every day. When I find something I want to read at length, I use a widget from readability.com to save it to read later. Then every couple of days I copy all the latest articles from my readability.com collection into a single MS Word document and then print that out. Then I finally read it all over the next day or two, away from the computer. It becomes a sort of self-edited magazine.
Last night in Infinite Jest I reached the chapter which opens with the fairly inane telephone conversation between Hal and Orin Incandenza and then goes on to include four "documents" such as an insurance company email about a wacky construction site accident and an essay of sorts about the introduction, wide adoption, adjustments to, and sudden consumer rejection of videophone technology. These documents are all on different subjects, written in a different style, and it struck me that reading them in succession is not unlike reading my printed-out articles from the RSS feed.
Here we see the author's playfulness, and that's the main thing I took away. The second thing was his willingness to go to exhaustive length about a subject, such as the essay about the adoption and subsequent rejection of "videophony." Its author explains at great length, employing the level of detail that only a geek, such as a "Lord of the Rings" geek, could muster about his chosen subject, while recounting something which is fairly obvious on its face (no one who is not a narcissist or an attractive teenager feels very comfortable using a webcam). Because of this, the essay could probably be cut to a third its length and lose almost nothing. So I conclude that the level of detail is the whole point. It's an exhibition of what it's like to know everything about one little corner of the universe, and happily explain it all to everyone.
That, of course, is why Wikipedia is such a success. There is someone like that for almost every subject in the world -- not just the obvious fan-focused topics such as LOTR or Star Trek. With a little study, I myself might be able to rustle up a pretty good critical essay on the early films of Wim Wenders.
But before Wikipedia, we had novels. Moby Dick, with its exhaustive description of 19th century whaling, is the obvious comparison. But the best novels always give readers a sense that they're learning a lot of important and -- this is very important -- authentic things about something. Readers of Shogun are, by the time they finish the tome, convinced they could get along pretty well in 17th century Japan. Even my mother's 85-year-old husband said to me last month: "I know some Japanese: kimasu. Because I read Shogun." I thought to myself, Hmm, to go? Probably not... Then, remembering the book and the Japanese word which is repeated over and over, I said "You mean wakarimasu -- to understand." And he agreed, yes, that was it.
Last night in Infinite Jest I reached the chapter which opens with the fairly inane telephone conversation between Hal and Orin Incandenza and then goes on to include four "documents" such as an insurance company email about a wacky construction site accident and an essay of sorts about the introduction, wide adoption, adjustments to, and sudden consumer rejection of videophone technology. These documents are all on different subjects, written in a different style, and it struck me that reading them in succession is not unlike reading my printed-out articles from the RSS feed.
Here we see the author's playfulness, and that's the main thing I took away. The second thing was his willingness to go to exhaustive length about a subject, such as the essay about the adoption and subsequent rejection of "videophony." Its author explains at great length, employing the level of detail that only a geek, such as a "Lord of the Rings" geek, could muster about his chosen subject, while recounting something which is fairly obvious on its face (no one who is not a narcissist or an attractive teenager feels very comfortable using a webcam). Because of this, the essay could probably be cut to a third its length and lose almost nothing. So I conclude that the level of detail is the whole point. It's an exhibition of what it's like to know everything about one little corner of the universe, and happily explain it all to everyone.
That, of course, is why Wikipedia is such a success. There is someone like that for almost every subject in the world -- not just the obvious fan-focused topics such as LOTR or Star Trek. With a little study, I myself might be able to rustle up a pretty good critical essay on the early films of Wim Wenders.
But before Wikipedia, we had novels. Moby Dick, with its exhaustive description of 19th century whaling, is the obvious comparison. But the best novels always give readers a sense that they're learning a lot of important and -- this is very important -- authentic things about something. Readers of Shogun are, by the time they finish the tome, convinced they could get along pretty well in 17th century Japan. Even my mother's 85-year-old husband said to me last month: "I know some Japanese: kimasu. Because I read Shogun." I thought to myself, Hmm, to go? Probably not... Then, remembering the book and the Japanese word which is repeated over and over, I said "You mean wakarimasu -- to understand." And he agreed, yes, that was it.
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