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Posts Tagged ‘vampires’

Byron the Bloodsucker, and Other News

May 28, 2015 | by

vampire2

Detail from a hand-colored engraving of Villa Diodati, by Edward Francis Finden, ca. 1833, after a drawing by William Purser.

  • Jonathan Franzen gave his first interview about his new novel Purity yesterday, and even the Associated Press showed up: “Those who left early missed a highlight of the event, a self-described ‘rising sophomore at the University of Connecticut’ telling Franzen that The Corrections was the basis for her project on the ‘depressed male protagonist in post-9/11 literature.’ ‘Say no more,’ answered a surprised, but amused Franzen.”
  • John Polidori was Lord Byron’s physician, and they traveled Europe together—no mean task, given the latter’s celebrity, which left the doctor feeling “like a star in the halo of the moon, invisible.” He was often the butt of Byron’s jokes that he began to write a cruel story about him—“The Vampyre,” which “establishes the vampire as we know it … reimagining the feral mud-caked creatures of southeastern European legend as the elegant and magnetic denizens of cosmopolitan assemblies and polite drawing rooms.” One problem: when the story was finally published, it was attributed not to Polidori but to Byron himself.
  • Virginia Woolf’s suicide—admittedly one of literary history’s more memorable, in its methods—has come to overshadow her life. Depictions of the author focus almost exclusively on her melancholic side, and Woolf Works, a new ballet, is no different: “What a miserable Woolf it always is! The focus in Woolf Works, The Hours, and Waves alike is on her tragic demise. This limits our view of her as a person—there’s none of the wit, charm and spirit that Woolf, by all accounts, had.”
  • Next time you see a commercial for Swiffer, remember the big picture—in the vastness of the cosmos, dust is not our enemy, but our friend. And we have the pictures to prove it. “Dust plays an essential part, not only in the history of life, but in the history of the universe as a whole. Although dust is a very small part of the mass of the universe, it controls the birth and death of stars and the heating and cooling of interstellar gas. Dust is prominent in the Hubble pictures, not only because dust clouds are beautiful, but because dust-clouds are big players in the cosmic drama.”
  • When the recession hit in 2008, an eighty-year-old novel, Kanikosen (Crab Cannery Ship), landed on Japan’s best-seller lists. What explains its sudden popularity? Well, it’s a story of the people: a tale of proletarian struggle based on a 1926 mutiny aboard a Japanese fishing ship. “Kanikosen laid bare not only the grueling reality of capitalism, but also the possibility of united resistance by workers.”

The Way the World Ends

February 5, 2015 | by

Being the last man on Earth.

From In the Mouth of Madness, 1981.

On a recent Sunday evening, trying to relax, I turned on the television and saw an ad for a new comedy series called The Last Man on Earth. It wasn’t clear how everyone else had died.

I had learned what I needed to know, or had remembered it: television does not relax me. I turned the television off, took an Ativan, and listened to The Teddy Charles Tentet, a terrific jazz record.

Phil Miller is the last man on earth—which makes him the world’s greatest handyman—world’s greatest athlete—[etc.]

The last man on earth.

But of course one is not the Last Man on Earth. There are other people, equal claimants to the Earth. It can be vexing to share it with them. Read More »

A Week in Culture: Chris Weitz, Director

October 6, 2010 | by

Photograph by Summit Entertainment.

DAY ONE, KIND OF

The first thing that occurs to me at the beginning of my cultural week is a question about criteria. What qualifies? If you read—or, as I did, listen to—Jaron Lanier’s You Are Not a Gadget, the whole of culture is going to hell in a handbasket, as mash-ups and the digital entrepôt rid us of professional reportage, musicianship, originality, and notions of humanity itself. He cites Facebook as an example of the degrading of our standards: What is a “friend” from now on? Punters of my generation—and probably most readers of The Paris Review will find this a curious thing to say, but my three-year-old son will likely see it as a word for the tally of standardized connections amassed through the mediation of a Web site.

Now then.

DAY ONE, REALLY

Monday begins, technically, at 12:00 A.M. “Sunday night,” with an Alan Watts1 lecture on the subject of “Play and Sincerity.” I have long used Watts to put me to sleep, which implies that he is soporific. Not so; it’s that I find his voice comforting.

I also indulged in Zombieland2, the unfeasibly entertaining comedy directed by Ruben Fleischer. Of the two ruling monster metaphors currently infecting the public mind (the other being vampirism, to which I have to confess I have contributed), I favor the flesh-eating variety, though that may simply be an indication that I have a Y chromosome.

While we are at it, I am afraid that I rate Justin Cronin’s vampire epic The Passage a “sell.” The word is that Ridley Scott is to direct the movie version, and this may be one case of a book that benefits from boiling down. I hope that Sir Ridley is in his best science-fiction mode and can bring some of the quotidian genius3 that he brought to Alien and Blade Runner.

My dad, who served in the Office of Strategic Services at the end of World War II, always said that the New York Times was the greatest intelligence resource in the world. When I got old enough to have developed a taste for a newspaper without (as he called it) funny papers, we had two subscriptions for the house, so that there would be no scuffling over favorite sections. (We also received the Post, for shits and giggles.) Read More »

Annotations

  1. For the uninitiated, Watts was a former Anglican priest who abandoned his vocation and trained as a Zen Buddhist monk. In his lectures, he refers to himself as an “entertainer.” To listen to him is to grasp the woolly abstractions of the New Age as common sense. And his rarefied, BBC English provides a marvelously counterintuitive texture to his thought.
  2. Zombieland convinces me that comedy is the way to handle these matters. I am very partial to Robert Kirkman’s superb comic The Walking Dead, though I worry that the AMC TV edition might suffer from a po-facedness that the comic manages to duck.
  3. One further tentacle of digression: Scott’s first film, The Duellists, is marvelous. It was adapted from a Joseph Conrad short story. My Dad and I used to watch it every year.

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