Posts Tagged ‘criticism’
December 4, 2014 | by Jack Livings
Michael Hofmann’s first collection of poems, Nights in the Iron Hotel, came in 1984, and in the ensuing thirty years he has translated more than sixty novels from the German and published five more poetry collections, along the way collecting numerous prizes for his work. He is the editor of an anthology, Twentieth-Century German Poetry, and in 2002 published a collection of critical essays, Behind the Lines. (This is far from a comprehensive accounting.) The thirty essays in his new collection, Where Have You Been?, visit a range of poets, novelists, and artists of the last hundred years, including Elizabeth Bishop, Robert Lowell, Thomas Bernhard, Kurt Schwitters, and Frederick Seidel.
Hofmann’s essays are intense inquiries: he tunnels deeply, engages profoundly, and whether or not he likes what he’s read or seen, his essays ennoble the work under review. There’s a sense of humor, even joy, electrifying the enterprise. Of course, his criticism can pulverize, too—Günter Grass and Stefan Zweig are destroyed in Where Have You Been?—but most of Hofmann’s selections tend toward the form of one reader grabbing another’s sleeve and shouting, Come on now, this way! You’ve got to see this!
Though Hofmann doesn’t keep a computer at home—“usual Luddite setup,” he said at one point—this interview was conducted over e-mail. On a couple of occasions, he wrote from a stand-up terminal in a municipal library.
You’ve written that contemporary American poetry is “a civil war, a banal derby between two awful teams.” In Britain, it’s “a variety show.” These are grim assessments.
Discouraging, isn’t it? It’s just a fact that there are never very many poets around at any given time. I think poetry is always one or two poets away from extinction anyway. If it’s any comfort, it’s not a living tradition—it doesn’t depend on being passed from hand to hand. It could easily go underground for a couple of decades, or a couple of centuries, and then return. People disappear, or never really existed at all, and then come back—Propertius, Hölderlin, Dickinson, Büchner, Smart. Poetry is much more about remaking or realigning the past than it is about charting the contemporary scene. It’s a long game. Read More »
December 1, 2014 | by Dan Piepenbring
In 1876, Julia A. Moore published The Sweet Singer of Michigan Salutes the Public, a best-selling series of poems to honor our nation’s centennial. Moore was an obituary poet: the elegy was her preferred mode. Local death notices and tales of wartime derring-do moved her to versify. She was especially fond of addressing poems to dead children.
Her work is, in a word, bad.
In fact, her collection sallied forth with such cloying sincerity—a note from the publisher claimed that any profits would be used “to complete the Washington monument”—that the satirists of the time decided to have a field day with it. Mark Twain parodied her in Huckleberry Finn; Bill Nye—the nineteenth-century humorist, not the contemporary scientist—said that hers was a poetic license that ought to have been revoked; the Hartford Times noted her collection’s “steady and unremitting demands on the lachrymal ducts”; and a critic in the Rochester Democrat wrote of her work, “Shakespeare, could he read it, would be glad that he was dead … If Julia A. Moore would kindly deign to shed some of her poetry on our humble grave, we should be but too glad to go out and shoot ourselves tomorrow.”
Best of all, maybe, was the review in the Worcester Daily Press: “[Moore] reaches for the sympathy of humanity as a Rhode Islander reaches for a quahaug, clutches the tendrils of the soul as a garden rake clutches a hop vine, and hauls the reader into a closer sympathy than that which exists between a man and his undershirt.”
And so Moore gathered renown, like William McGonagall, as a poetaster, i.e., an inferior poet. (The word has fallen into disuse lately, but maybe it can have a renaissance in 2015.) You may chide her critics for their ironic jeering—it took some time, apparently, for Moore to get the joke, and eventually she was cowed into silence. By 1878 she’d been mocked from coast to coast and lampooned at her own public appearances. “Literary is a work very difficult to do,” she said to those who teased her.
But before you cluck, have a look at Moore’s poetry, which may make you want to throw tomatoes at her.
Here’s the whole of “Grand Rapids Cricket Club”: Read More »
August 12, 2014 | by Dan Piepenbring
In a sense, that poster doesn’t lie: everyone was talking about Citizen Kane. In another, more accurate sense, that poster does lie: not everyone was joining in that “It’s terrific!” chorus.
I hadn’t known, until Open Culture told me earlier today, that Sartre and Borges numbered among Kane’s more outspoken critics. Sartre reviewed the film in 1945, meaning he took four years even to bother seeing it. His is a damning appraisal not just of the movie but—kind of toothlessly—the whole United States cinema culture:
Kane might have been interesting for the Americans, [but] it is completely passé for us, because the whole film is based on a misconception of what cinema is all about. The film is in the past tense, whereas we all know that cinema has got to be in the present tense. ‘I am the man who is kissing, I am the girl who is being kissed, I am the Indian who is being pursued, I am the man pursuing the Indian.’ And film in the past tense is the antithesis of cinema. Therefore Citizen Kane is not cinema.
Not exactly an open-and-shut syllogism, but that’s in keeping with the Continental tradition, I guess.
Borges reviewed Citizen Kane in 1941—in fact, he reviewed many a film in his day, among them King Kong, The Petrified Forest, and Sabotage (the 1936 classic, not the 2014 Arnold Schwarzenegger vehicle). Many of these can be found in his Collected Nonfictions. As the translation below attests, his review of Kane is typically well observed, though he’s kind of hard on Rosebud, and we can now say, from the vantage of more than fifty years, that he was dead wrong about the whole endurance thing: Read More »
July 9, 2014 | by Dan Piepenbring
Anne Hollander, whose acute writing on fashion, costume, and style infused those subjects with a new intellectual energy, died on Sunday at eighty-three. As the Times reports, “She argued that clothing revealed far more than it concealed—about art, about perceptions of the body and ourselves—and her interests spanned centuries and mediums.”
Hollander conducted—or co-conducted; she shares the credit with John Marquand—The Paris Review’s first Art of Theater interview, with Lillian Hellman, published in 1965. Back then, her contributor’s note read modestly, “Anne Hollander designs costumes, paints, and translates occasionally.”
A little more than a decade later, in 1978, she published her first book, the brilliant (and brilliantly named) Seeing Through Clothes, a history of clothing and a study of representations of the body in Western art. The book was full of offhand wisdom about what you could call our philosophy of dress: “People seem always actually to know,” Hollander wrote, “with a degree of pain that has required the comfort of fairy tales, that when you are dressed in any particular way at all, you are revealed rather than hidden.” The book took a while to find its audience, but, as one critic noted, it “pushes erudition to the point of originality. The thoroughness with which she examines Western art and clothes has precipitated a new subject: how painting, sculpture and photography mediate between bodily ideals and what we wear.”
Over the next decades, her reputation grew and she published a succession of well-received books, including Moving Pictures and Sex in Suits; she wrote essays for a number of magazines, including The London Review of Books. Not much of Hollander’s writing is available online, but she was, for a time in the late nineties, the fashion columnist for Slate, which has curiously yet to publish a remembrance. Her pieces there have aged well; a column from February 1997—“A Loss for Words: Why there’s no good writing in fashion”—is just as true nearly twenty years later:
Fashion journalists and sensational fictioneers like Danielle Steele have co-opted the field, and other writers are scared off. Fashion now seems like a club with a private jargon that leaves no room for the play of sensitive literary exposition. And good critical writing about clothing hardly exists at all. There is no tradition of clothes criticism that includes serious analysis, or even of costume criticism among theater, ballet, and opera critics, who do have an august writerly heritage. This fact may be what makes the fashion journalist hate her job—the painful sense that real work cannot be done in this genre, that it would be better, more honorable, to be writing about something else.
But Hollander didn’t write about something else, thankfully. She expanded the rhetoric and insight of criticism about style, engaging where most writers thought there was nothing to engage with.
July 2, 2014 | by Dan Piepenbring
- A report by British dermatologists makes the audacious claim that Shakespeare is responsible for Western society’s obsession with clear skin. “Shakespeare’s works have survived the intervening centuries; has his success led to the perpetuation of Elizabethan negativity toward skin disease?” Apparently, too many of his plays feature insults about skin disease—poxes, boils, carbuncles, moles, blots, blemishes, plagues—an excess of abscesses, a sebaceous surfeit.
- “One of the most intriguing questions I get from readers of my movie reviews is: ‘But did you like the film?’ … The binary scale of good and bad, like and dislike, is essentially pointless. Movies are complex experiences—even those that are simplistic or clumsily made are rich in substance—and sometimes criticism is like the science of medicine, with advances coming from diagnoses of some dread disease that you wouldn’t want to have.”
- A linguist’s cri de coeur: death to Whorfianism! “What Whorfianism claims, in its strongest form, is that our thoughts are limited and shaped by the specific words and grammar we use”—but linguists have found only “fairly negligible differences … between language speakers.”
- These hand-painted posters from Russian cinemas make movies like Shrek 2 and 50 First Dates look like surrealist masterworks.
- You can live in the house from Twin Peaks. (Leland Palmer not included. Or is he?)
June 10, 2014 | by Sadie Stein
The food takes awhile which gave us time to watch a waitress deliver a Dutch Baby and envelop us with its fragrant, perhaps sacred, steam. A tray of ruby grapefuit [sic] juice in large glasses made me think of luxurious jewels. Obviously we had traveled back to a past time. —A review of the Original Pancake House
When I was about twenty-six, a friend sent me a listing for a job at an online review site, which, at the time, had not yet gone public. It seemed to me a good idea to apply to lots of things, so I sent in a letter.
“We’re looking for someone hip and quirky for this job,” said the woman, Tyler, who interviewed me from San Francisco; she’d mentioned an improbably high salary and a host of benefits and perks. “You seem hip and quirky. But we need someone more integrated into the Web site’s community. I notice you have no reviews, no profile, and no ‘friends.’ We’ll need to see more of a commitment.”
I attacked my new assignment with determination. I set myself a quota of ten reviews a day and implored everyone I knew to join my network. In my capacity as manager of the lingerie store where I worked weekends, I commandeered the computer, knocking out reviews of the coffee at the bodega on the corner (“too subtle for the common palate”), the new artisanal pizzeria (“a horseman of the gentrification apocalypse”), and the local nail salon (“The nail technician was slovenly and surly; her coat was soiled; she started cutting my cuticles without asking”).
While I placed a premium on quantity, I began to take my task seriously: I was appalled by the cavalier manner in which fellow reviewers dismissed small businesses after a single visit or graded spots where they hadn’t bothered to wait for a table. I took special care in rebutting what I felt to be thoughtless and uninformed reviews. My tone became hectoring. Read More »