Posts Tagged ‘romance’
August 26, 2016 | by Christopher Isherwood
Christopher Isherwood, born on this day in 1904, met a teenager on the beach in Santa Monica in the early 1950s. It was Don Bachardy, with whom Isherwood began one of the first openly gay relationships in Hollywood. In their love letters, the pair adopted pet names and, with them, exaggerated identities: Isherwood became “Dobbin” and Bachardy “Kitty.” Their correspondence is published in The Animals: Love Letters Between Christopher Isherwood and Don Bachardy, edited by Katherine Bucknell. The excerpt below is from a March 1963 letter from Isherwood.
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August 16, 2016 | by Oliver Lee Bateman
Chasing Amy and the toxic “nerd masculinity” of the nineties.
Kevin Smith’s romantic comedy Chasing Amy, now almost two decades old, was a big deal for my generation of nerds. Back in 1997, all of our dorky interests, from comic books to video games, remained hidden, far from the prying eyes of the American mainstream. To us, the unapologetic fanboy Smith had emerged as something of a nerd culture Shakespeare—the best of us, a man who captured our hopes and dreams in his character’s lengthy, pop culture–laced monologues. Chasing Amy, which concerned sensitive-yet-sleazy Ben Affleck’s pursuit of the bisexual comic-book artist Joey Lauren Adams, constituted Smith’s first serious attempt to tell a meaningful dramatic story against the backdrop of the geek demimonde he’d explored in his previous slacker comedies Clerks and Mallrats. We were supposed to identify with (or at least pity) Affleck’s comic-book penciler Holden McNeil as he tried to come to terms with Adams’ sexual history, which involved group sex and gay sex and all sorts of other activities alien to his own heteronormative experience.
Chasing Amy was always an uncomfortable movie, a film that encapsulated the worst aspects of narcissistic nerd entitlement at its late-nineties peak, but twenty years later I couldn’t even bring myself to finish rewatching it. When it was released, I begged my father to drive me to Raleigh’s Rialto Theatre and left that first showing enraptured, believing that some aspect of my privileged nerdy male “struggle” had been set to film. Kevin Smith was the first director whose scripts I had ever read; before I’d encountered his work, I hadn’t ever considered the form. It helped that Smith was such a dreadful cinematographer, a fact he admits without shame, because it meant his movies were the equivalent of ninety-minute script readings. Yet why, in the course of dreaming about becoming a “Hollywood writer”—whatever that meant—had I lingered over this material? How had it ever resonated with anyone at all, myself included?
The answer was simple but painful: I was one of those stereotypical “guys who liked movies,” and I was stupid. Read More »
April 19, 2016 | by Dan Piepenbring
- I speak only English, so I write in English, too. And though for years this seemed to me the natural state of affairs, it might just be that I’m economically and politically undiscerning. As Tim Parks writes, “Ever since Jhumpa Lahiri published In Other Words, her small memoir in Italian, people have been asking me, Why don’t you write in Italian, Tim? You’ve been in the country thirty-five years, after all. What keeps you tied to English? Is it just a question of economic convenience? … But beyond any understandable opportunism, there is often a genuine idealism and internationalism in the decision to change language. If you have ‘a message’ and if English is the language that offers maximum diffusion, then it would seem appropriate to use it. In the 1950s, the rebellious and free-spirited Dutch novelist Gerard van de Reve felt that the Dutch language and culture was simply not open enough and not big enough for an artist with important things to say. Van de Reve moved to England in 1953, dropped the exotic ‘van de’ from his surname, and set about writing in his adopted language … Writing in another language is successful when there is a genuine, long-term need to switch languages (often accompanied by serious trauma), and when the new linguistic and social context the author is moving in meshes positively with his or her ambitions and talents.”
- Sup, speed reader? You think you’re so cool, with your fast retinas and your fancy apps. I think you’re a fraud. And the Gray Lady has my back: “In fact, since the 1960s, experiments have repeatedly confirmed that when people ‘speed read,’ they simply do not comprehend the parts of the text that their eyes skip over. A deeper problem, however—and the one that also threatens the new speed-reading apps is that the big bottleneck in reading isn’t perception (seeing the words) but language processing (assembling strings of words into meanings). Have you ever tried listening to an audio recording with the speaking rate dialed way up? Doubling the speed, in our experience, leaves individual words perfectly identifiable—but makes it just about impossible to follow the meaning. The same phenomenon occurs with written text.”
- Julian of Norwich and Margery Kempe wrote, respectively, the first book in English by a woman and the first autobiography in English by a woman. Their manuscripts are being shown together at the Wellcome Center, but only one of them has a discovery story involving Ping-Pong. “Only one known manuscript exists of Margery Kempe’s story: its whereabouts were unknown from around 1520 until the 1930s, when it was discovered in the cupboard of a country house during a game of Ping-Pong. One of the players stepped on the ball and while searching for another, the Book of Margery Kempe manuscript fell out of a cupboard.”
- Meanwhile, in Culver City: a pair of sisters have opened the first-ever “exclusively romance brick-and-mortar bookstore.” “The Ripped Bodice is a clean, well-lit place, devoted to the many subgenres of romance, such as cowboys, aliens, Vikings, biker dudes, and the paranormal. There’s also a large erotic section, a Spanish-language area, and plenty for young adults, as well as the lesbian, gay, bisexual, trans and queer communities. In the historical section, books include Jane Austen spin-offs and romantic tales among tartan-clad Scottish highlanders. ‘Love can come in many forms,’ says Bea, twenty-six, with a smile.”
- In which Emma Cline offers a tour of her writing room, an old garden shed in Brooklyn one block from the Gowanus Canal: “It reminds me of the cruddy little outbuildings I saw a lot of growing up in Northern California—the sloping floor, the amateur carpentry. We still haven’t finished the ceiling and it’s been three years … The best thing about working in such a small room, especially one without Internet access, is the sense of compression, a winnowing down to the essential things. Even one other person makes the space feel crowded. There’s really not very much to do in here but write, or nap on the air mattress in the loft.”
February 26, 2016 | by Sadie Stein
This week, Sadie is taking an in-depth look at Professor Bhaer, the most divisive character in Little Women. Read Part 1, Part 2, Part 3, and Part 4. Today: Professor Bhaer in film and TV adaptations of Little Women.
1933: There aren’t many Bhaer-centric clips available online for this Katharine Hepburn version; its fans are clearly and firmly in the #TeamLaurie camp. At the two-minute mark in the trailer, though, you can see the professor in action. And what action it is! Bhaer, “blundering in,” is played in this version by the Hungarian actor Paul Lucas. He is kind of sleazy and unctuous and dandified in a way that makes any Bhaer partisan—or indeed, any lover of fairness—tremble with indignation. Even so, he gets points for using actual dialogue from the book, and whoever casted him should be lauded for drawing, kind of, from Bhaer’s actual region of the world.
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February 23, 2016 | by Sadie Stein
As often as I’ve read Little Women, I found that I didn’t have very distinct memories of Bhaer—not the way I did of Jo or Amy or Laurie. Despite his recurrence in the later books, he’d faded into a somewhat two-dimensional character for me. When I first encountered the book, I was probably nine or ten—too young to appreciate a character like Bhaer, and more receptive to Laurie’s obvious charms. Bhaer had seemed pedantic and unromantic, and I’d retained that notion. As a grown-up, would I feel differently? By this time, having known loneliness and love, and indeed having married someone a few years my senior, would I have more sympathy for this more mature relationship?
“You’re my professor Bhaer,” I said experimentally to my husband.
He paled. “That’s the most horrible thing you’ve ever said to me,” he replied. Read More »
February 12, 2016 | by Henry Giardina
Fritz Lang and Thea von Harbou’s strangest collaboration.
Fritz Lang and Thea von Harbou weren’t collaborators so much as co-conspirators: they had one of the strangest, most fruitful partnerships in the history of film, an erotic and artistic alliance that helped the new medium establish an emotional and political grammar. In the course of their eleven-year marriage, the pair, who met in 1920, made roughly a dozen films, often with Von Harbou writing the screenplays—adapted largely from her own work—and Lang in the director’s chair. They shared an expressive aesthetic vision, an exacting work ethic, and an almost tyrannical unwillingness to compromise with others. They changed people’s minds about their movies and, in radical ways, they changed each other. Their dedication manifested in odd ways—even though, a year into their affair, the bloom had already gone off the rose, they continued to live together, work together, and keep up the pretense of monogamy for another decade. She looked past his philandering; he looked past her increasingly fascist politics; they kept a full calendar. “We were married for eleven years,” von Harbou said later, “because for ten years we didn’t have time to divorce.”
When they did separate, in 1933, the break was clean: not even a year later, Lang, having only recently claimed German citizenship, had fled the country. He said he’d met with Joseph Goebbels, who asked him to head the Nazified film unit of UFA—an experience that so spooked him he left that very evening. If his story is factually dubious, it makes emotional sense: Lang saw himself as having chosen art over nationalism. Von Harbou, who stayed behind, thought she had chosen art, too. And this is in many ways the problem at the heart of their romance: Who, if anyone, had betrayed whom? When love is so tied up in art, and art so tied up in politics, what does betrayal end up looking like? Read More »