Posts Tagged ‘Oedipal conflict’
December 26, 2011 | by Caleb Crain
We’re out this week, but we’re re-posting some of our favorite pieces from 2011 while we’re away. We hope you enjoy—and have a happy New Year!
My husband and I watched Ferris Bueller’s Day Off (1986) the other night. He’d never seen it before, to the consternation of his Facebook friends, and I last saw it a decade ago, when I remember having been vaguely entertained. Not this time, though. “God, he’s kind of awful, isn’t he?” Peter commented, about ten minutes in. I agreed but was fascinated. Before my eyes, the rentier class was daydreaming a special dream, a dream of getting away from the drudges and the scolds ...
I was not fascinated by the plot, which is thin. A high-school senior named Ferris Bueller, played by Matthew Broderick, feigns illness in order to play hooky and persuades a hypochondriacal friend and a bland girlfriend to follow him on a tour of Chicago, visiting a fancy restaurant, a baseball game, an art museum, and a German-American heritage parade. The movie depends heavily on Broderick’s charm as an actor, on his mix of too careful enunciation, direct address to the camera, and pale pink pubescence in the shower. In the opening scene, director John Hughes takes a rather large risk: Ferris lies to his parents with large calf eyes, giggling and lapsing into baby talk. What kind of movie hero consciously presents himself as infantile and duplicitous? What kind of movie hero begins by seducing his parents?
December 14, 2011 | by Jonathan Gharraie
We have to get our stories straight, she and I, but first we have to get John Updike’s stories straight. I have just bought the Everyman edition of The Maples Stories, and I am trying to describe to my date the arc of the Maples’ marriage and why I think these stories are successfully erotic, how they bring the best out of Updike.
I am actually talking about myself, about all the stuff I’ve read, but that’s okay. As last of the male narcissists, Updike would understand. She understands. We are both rehearsing our lines for the evening over a curry somewhere in North London. It is exceptionally, reproachfully cold, and neither of us feels particularly well-equipped to withstand the inclement weather. My shirt makes me look like a Bond villain and feels like a rumpled parachute. The curry is the wrong kind of hot. She asks the most difficult question of all.
“How are you going to pass me off?”
I struggle to reply. She is both my date and not my date. She is the girlfriend of an old friend, and I have been instructed to show her a good time, in return for temporary London accommodation. I am being conspicuously trusted. We are getting to know each other, having only met twice before tonight, but I must be very transparent because she quickly settles on an apt description of our relationship.
“I know,” she says, patting me gently on the arm, “we’ll say I’m your chaperone.”
She makes me sound like a debutante and, in a sense, this is accurate. This is the first time I have attended the Bad Sex in Fiction Awards, but the same is true for her. Read More »