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Tuesday, May 8, 2007
by Sam McManis [McClatchy Newspapers (MCT)]

Silly me. I thought cable TV news was beyond mocking. After all, once you’ve watched Nancy Grace in action, parody and satire don’t seem to stand a chance.


But then along comes The Onion to prove that theory wrong. Those masters of subtle snark, who made their mark a decade ago by aping the inanities of newspapers and last year sent up radio news with a hilarious podcast, now are taking aim at CNN, Fox News Channel and MSNBC.


Easy targets, for sure.


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Tuesday, May 8, 2007

For a long time I’ve been interested in the relationship between reading, time, and interpretation.  Anyone who’s ever had a conversation with someone, especially while distracted, or read a book, has had the experience of having a fuller awareness of a passage’s meaning open up long after the conversation or book is ostensibly over.  Sometimes you haven’t read enough to fully grasp a book’s import, or you’re just too busy, or, you know, you just missed it. 


I’ve become *particularly* aware of this difficulty over the past year, as I’ve started reviewing books more frequently (some 40-odd books since August 4, 2006).  Generating a reasonable off-the-cuff reaction, one that won’t be wholly embarrassing six weeks later, is a tricky thing.  But, then again, free books . . . .


This problem has been kicking around my brain again, thanks to this Kenyon Review interview with Meghan O’Rourke, whose first book of poems, Halflife, came out last month with Norton.  David Baker is an excellent interviewer, and the conversation is unfailingly interesting.  One exchange in particular has stuck in my mind over the past week.  Baker asks, “Why read lyric poetry?,” to which O’Rourke replies:


A lyric poem delivers its payload efficiently. It doesn’t require an extraordinary investment of time on the reader’s part. So you can figure out quickly whether you like something. More important, the lyric poem is the most powerful embodiment of the paradoxes of life and art. Walter Pater once talked about “the splendour of our experience and of its awful brevity,” a phrase I like because it contains both the unutterable depth of perception that living seems to contain and the peculiar corollary—that that depth, those perceptions, are unsustainable because we die. Poems have always seemed to me to be the most crystalline reflection of that sensation of privilege and loss. They mimic life, if you will.


This is a lovely answer, and, really, not enough people talk about Walter Pater on a day-to-day basis.  Having said that, O’Rourke here sounds a bit too optimistic about the investment of time required to read lyric poetry.  Clearly it’s the case that glancing over, say, this Kathryn Maris poem takes less time than does even the most cursory reading of Michael Chabon’s The Yiddish Policemen’s Union.  But it’s also the case that lyric poetry requires a greater investment of attention than does a novel.  Anyone who’s taught knows this: It can be quite difficult to get students to read poems, because they demand more care than novels do.  (And since Pater’s on the table, this is surely one of his points in that “Conclusion”—that art metaphorically grants us more life by awakening our otherwise sluggish consciousness.)  We could even sharpen O’Rourke’s point a little and note that “that depth, those perceptions” that life offers are only possible “because we die,” and are not “unsustainable” only.


I have yet to figure out a way to recognize quickly whether I will like a book of poems.  (Reading aloud sometimes works, but not always in ways I can explain.)  That’s why I like reviewing them and try to be extraordinarily careful when doing so: Not because poems are more delicate, but the converse: Because they engage consciousness in such an oblique way that I grow less sure of myself as I write. 


How do you know whether you’ll like a book—poetry or anything else?


 


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Monday, May 7, 2007


There are a couple of noticeable trends this week, one of which is plainly obvious from the titles listed below. There are a lot of “and” pictures being released today, movies that attempt to use the bifurcating connective word as indicative of dichotomy, difference or dynamic. Unfortunately, they all don’t share a singular cinematic value. The other fad is more mercantile, and isn’t noticeable until you dig down deeper into the overall product list proper. For example, 8 May will see the release of a Dirty Dancing 20th Anniversary Special Edition, a Donnie Brasco Extended Version, and of all things, a director’s cut of Tom Hank’s That Thing You Do. Sure, this is all part of the notorious double dip, but the tactic here is also a little more subversive. By cleaning up the cutting room floor and affixing deleted content back into the print, the studio can claim it’s new and work their way into your wallet once again. So tread softly and choose wisely this tricky Tuesday – at least when considering anything other than our rock solid SE&L pick:


Deliver Us From Evil


It’s a shame that the situation with pedophilia and the priesthood has been reduced to a running gag amongst your bottom feeding stand-up comics. But the real crime remains in just how clandestine and conspiratorial the Church was in keeping these abominations from parishioners and potential underage targets. Case in point – Fr. Oliver O’Grady. At one time, he was a trusted and respected man of God. But deep down inside, he was a raging child rapist, a sick and twisted pervert who was a threat to all he came in contact with. Shockingly, he was protected, moved around from community to community to hide his horrible secret. As this scathing documentary indicates, organized religion thought it best to keep O’Grady safe, forgetting that the most important element here, the devastated victims, were the ones who really needed the help. Filmmaking doesn’t get any braver than this disturbing denouncement of everyone involved. Second only to An Inconvenient Truth in uncovering true fact-based horrors.

Other Titles of Interest


Breaking and Entering


It was supposed to be his return to certified Oscar fare after the commercial hit The Talented Mr. Ripley and the overblown dud Cold Mountain. But The English Patient‘s Anthony Minghella stumbled a bit with this class conscious offering about a London professional falling for an immigrant refugee. Based on his own screenplay, what could have been memorable ended up only middling.

Catch and Release


With what seems like unlimited commercial potential at her disposal, one has to wonder what made Jennifer Garner take on this quirky Indie romantic comedy. Must have been the chance to show her pure performance cred. First time filmmaker Susannah Grant (famed for writing Ever After and Erin Brockovich) even turned up the geek quotient by casting Kevin Smith as “the funny fat guy”. Audiences failed to respond.

David and Lisa


It has a premise that should only work in literary form (the film is based on a famous novel) – a young man afraid of being touched meets an equally unwell young woman who speaks in sing-song rhymes. Together, they try to forge a meaningful relationship. Thanks to the expressive performances by Kier Dullea and Janet Margolin, what could have been cloying has, instead, a fair amount of humanity. 

Music and Lyrics


Hugh Grant as a washed up ‘80s pop star? Drew Barrymore as a plucky lyricist who’s employed as his new writing partner? Era appropriate originals by Fountain of Wayne hit maker Adam Schlesinger? How could this miss? Apparently, writer/director Marc Two Weeks Notice Lawrence forgot to add anything fun…or memorable. Not even a Wham-esque Grant in full flashback mode was enough to save this stinker.

The Painted Veil


Representing the second period piece in a year for the otherwise thoroughly modern Edward Norton, this adaptation of the seminal W. Somerset Maugham book had a lot of healthy buzz come time for awards consideration. Then, for some inexplicable reason, it just vanished. The film has all the scope and splendor of a guaranteed critical hit, but somewhere between page and motion picture, it lost its way.


And Now for Something Completely Different
Revenge


You’ve got to admire the marketing campaign currently running for this 1990 Tony Scott title. In big bold letters over a newly enhanced image of star Kevin Costner’s unshaved face, a quote from Quentin Tarantino proclaiming this movie as Scott’s “masterpiece”. It’s all but unavoidable. Whether or not this will mean anything significant to the QT contingency remains to be seen, but anyone who’s actually watched this romantic thriller gets the gist of what the Indie bad boy is talking about. Jim Harrison’s potboiler tome about infidelity and intrigue in the Mexican wilderness feels like a thick slice of South of the Border Gothic, and Scott’s stylized approach to narrative gives everything a slick, glossy glow. Costner is very good, as are the late Anthony Quinn and a radiant Madeline Stowe. While it has guilty pleasure written all over it, there is some seriously satisfying high drama to be found amongst the camp.

 


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Monday, May 7, 2007

Another music industry scapegoat


There’s a great article at CNET called The P2P mistake at Ohio University written by the head of BitTorrent, concerned a certain mid-west campus which has banned P2P (peer to peer) computer use on campus.  Granted that the author is bound to defend his own turf (BitTorrent being the P2P poster child) but he makes an impressive case of how Ohio U is throwing the baby out with the bath water by ignoring the promise and other uses of P2P other than illegal downloads.


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Monday, May 7, 2007
by PopMatters Staff

Björk
Volta videocast - Part 1 [M4V]
Volta videocast - Part 2 [M4V]
Volta videocast - Part 3 [M4V]


Our favorite Icelandic pixie songstress is back with her sixth album. Volta is a grouchy affair, whether burning hot with big beats and booming vocals or brewing in a bad mood. Evaluated purely for its placement along her artistic trajectory, the record finds Björk successfully pushing into new realms, moving restlessly and relentlessly forward. As with 2004’s Medúlla, however, the trails that she blazes are sometimes difficult for the listener to navigate. In case you hadn’t noticed yet, Björk is out there.—Michael Keefe, PopMatters review of Volta—7 May 2007


Watermelon Slim [PopMatters review]
The Wheel Man [MP3]
     


I’ve Got News [MP3]
     


Black Water [MP3]
     


Buy at iTunes Music Store


“Take a peak for yourself as to why The Wheel Man received six Blues Music Award nominations and won Mojo Magazine’s Best Blues Album of the Year. He really is “King of the Blues”.”—Northern Blues [released 17 April 2007]


Benni Hemm Hemm
snjórjljóssnjór [MP3]
     


Fred Anderson & Hamid Drake
Planet E [MP3]
     



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