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Posts Tagged ‘Wim Wenders’

Stalking Seán O’Casey

September 18, 2014 | by

Today is the fiftieth anniversary of Irish playwright Seán O’Casey’s death. Sam Stephenson tracks his appearances in W. Eugene Smith’s archive.

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The original tape box for the reel containing the Red Valens phone call. On same reel, photographer Daniel Kramer is recorded in Smith’s loft discussing his photographs of Bob Dylan intended for Sensorium. Smith met Kramer in June 1965 when both were photographing Dylan’s Highway 61 Revisited studio sessions. A Long John Nebel radio show is also recorded. The handwriting is an assistant’s, not Smith’s. Images courtesy of Center for Creative Photography, University of Arizona.

On August 15, 1965, W. Eugene Smith was up late, as usual, in his dingy fourth-floor loft in the wholesale flower district, a neighborhood desolate after dark. He was working on the first issue of Sensorium, his new “magazine of photography and other arts of communication,” a hopeful platform free of commercial expectations and pressures. He was editing a submission by the writer E.G. “Red” Valens, whom he had met in 1945 when both were war correspondents in the Pacific. Despite the late hour, Smith decided to give his old friend a call.

Valens’s wife answered the phone just before the fifth ring. She’d been asleep. She gave the phone to her husband. He’d been asleep, too.

“Good morning,” said a groggy Valens.

“You don’t stay up as late as you used to,” joked Smith.

He then apologized for calling so late. Valens wasn’t irritated. He even resisted Smith’s offer to call back at a more reasonable hour.

Thirty-six minutes and nineteen seconds later, the pair said good-bye and hung up. We know this because Smith taped the phone call. When he died in 1978, this clip was among 4,500 hours of recordings he made from roughly 1957 to 1966. Read More »

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Staff Picks: Pop, Rock, and Bear Hock

August 29, 2014 | by

From Barry Guy's Witch Gong Game ll/l0 (1993).

From Barry Guy’s Witch Gong Game ll/l0 (1993).

John Swartzwelder has written more Simpsons episodes than any other writer (fifty-nine in total). He’s also one of the most eccentric writers in the business: one story goes that “when he could no longer smoke in restaurants, he bought his favorite booth from his favorite diner and had it installed in his home.” Since leaving The Simpsons in 2003, he has self-published a novel each year, all of which are available on his Web site. After reading his first novel, The Time Machine Did It, I’m not surprised that Swartzwelder is the same person who introduced now-classic Simpsons characters such as Cletus Spuckler, Stampy the Elephant, and the three-eyed fish Blinky (who has now become a symbol among pundits for nuclear waste and wildlife mutation). The novels are pure screwball, honoring the comedies of the Marx Brothers and Preston Sturges as Swartzwelder dismisses any narrative rule for laughs. In The Time Machine Did It, a private detective named Frank Burly (“to give prospective clients the idea that I was a burly kind of man ... and who would be frank with them at all times”) finds himself traveling through time for a supposed multimillionaire who wakes up one day to find that everything he owns is gone. The plotline includes a homemade time machine and a town taken over by criminals, but why the novel works is the simple fact that it never takes itself too seriously. “On an impulse I mooned most of the 1950’s as I went by. I don’t know what makes me do these things. I guess it’s just part of my charm.” —Justin Alvarez

In outline, it reads like something made up by Roberto Bolaño: an Austrian writer crosses America, wracked by nightmares and visions and pursued by his mysterious, estranged wife. Peter Handke’s 1972 novella Short Letter, Long Farewell helped inspire the American “road movies” of Wim Wenders, and if Bolaño didn’t know the book, there is a strong family resemblance. As the critic Wayne Koestenbaum put it, the two writers share an “ability to sound sane (though vacant-souled) about insane circumstances,” whether these involve a desert sunset or a restaurant serving bear hock à la Daniel Boone. —Lorin Stein

That Olivier Messiaen’s “Quartet for the End of Time” is, in part, a transmutation of birdsong into lines of music has oddly come up several times over the past month, in the course of putting together the Fall issue and elsewhere. At the same time, I’ve found myself returning periodically to Music & Literature’s impressive fourth issue to gaze at the work of British composer Barry Guy, whose graphic scores are translations of sensory experiences relating to literature, painting, and architecture and visual reflections of movement, energy, and pitch. So it felt like the stars had fully aligned when I read Christian Wiman’s “translations” of Osip Mandelstam, from a small collection called Stolen Air. Instead of faithfully translating Mandelstam’s poems, Wiman has created versions of them: though some closely resemble the originals, others, he says, are “liberal transcriptions” and “collisions and collusions” between the two poets. Wiman sought to get at the sound of Mandelstam’s language, its music, without having any knowledge of Russian but feeling buoyed by Mandelstam’s notion of a poet’s “secret hearing.” And so we get silvery, jostling lines like “I love the early animal of her, / These woozy, easy swings” and “Better to live alluvial, / Better to live layered downward, / To be a man of sand, of hollows, shallows / To cling to sleeves of water / And to let them go—” —Nicole Rudick Read More »

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Dancing with Myself

February 14, 2012 | by

In one of Robert Walser’s Berlin Stories, “In The Electric Tram,” the narrator describes the feeling of well-being that comes with sitting in a moving vehicle on a rainy afternoon: the joy of lighting a cigarette, the satisfaction of composing a tune in his head, the urge to strike up a conversation with the reticent conductor. His gaze takes in the other passengers: “the drooping mustaches, the face of a weary, elderly woman, a pair of youthfully mischievous eyes belonging to a girl,” before happily settling on his footwear. “I must say,” he confesses to his reader, “I have achieved a certain technical mastery in the art of staring straight ahead.”

The German industrial city of Wuppertal still has a functioning electric tram, which hangs from long beams like an aerial camera and which travels through Wim Wender’s new 3-D dance movie, Pina, an homage to the German choreographer Pina Bausch. It is a running joke, appearing during the movie’s opening titles as the audience grapples with their 3-D glasses and cropping up in different scenes throughout the film—suspended above two dancers performing a duet on a roundabout, or situated below a dancer who, sitting on the tram’s old fretwork, shoves his legs around as they pop up like disobedient wooden beams. Later, in the tram’s car, a male dancer wearing cardboard cut-out Spock ears takes a seat in the back row and stares straight ahead, apparently oblivious to his appendages—and to the female dancer boarding the vehicle, whose dark hair is entirely hiding her face. She heaves along with her a white pillow as if it were a live thing, making squelching sound effects, before reassuming her anonymity and sitting down. This is Bausch’s world—a little like ours, but stranger: perhaps more like Walser’s Berlin of 1905, a city of would-be actors and artists, voyeurs and dilettantes, and elderly women with lipstick on their teeth. Pina reminds us of the ways we are all performing to one another and pretending to ignore others’ performances, and it’s one of the most blissful things I’ve ever seen on a rainy afternoon. Read More »

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Enrique Vila-Matas on ‘Never Any End to Paris’

June 6, 2011 | by

Decorated with numerous awards in his native Spain—including the same Premio Rómulo Gallegos that catapulted his friend Roberto Bolaño to international renown—Enrique Vila-Matas has pioneered one of contemporary literature’s most interesting responses to the great Modernist writers. Taking the Modernists as towering giants that will never be equaled, Vila-Matas works to inscribe himself—at times literally—in the margins of their works. His tools are irony, parody, paradox, and futility, and his goal is to mix fact, fiction, and autobiography in order to depict not reality but truth. I asked him about his newly translated novel Never Any End to Paris—his third in English—based on the time he spent in Paris as a young writer attempting (and gloriously failing) to triumph as Hemingway did.

Never Any End to Paris uses your youth in Paris to explore ideas of creativity, influence, and identity. The narrator is a writer whose facts and dates are similar to yours, though—I think—he both is and isn’t you. Do you think art requires certain compromises with reality?

Which reality? If you mean the conventional “consumerist reality” that rules the book market and has become the preferred milieu for fiction, this doesn’t interest me at all. What really interests me much more than reality is truth. I believe that fiction is the only thing that brings me closer to the truth that reality obscures. There remains to be written a great book, a book that would be the missing chapter in the development of the epic. This chapter would include all of those—from Cervantes through Kafka and Musil—who struggle with a colossal strength against all forms of fakery and pretense. Their struggle has always had an obvious touch of paradox, since those who so struggled were writers that were up to their ears in fiction. They searched for truth through fiction. And out of this stylistic tension have emerged marvelous semblances of the truth, as well as the best pages of modern literature.

This sentiment is very similar to something you say in Paris—“where there is a mirage there is life”—and it reminds me of something I heard you say in an interview: that for the modernists the quest is rectilinear, in contrast to that of Ulysses, whose quest was a circle. In your books, what inspires this search?

In a movie by Wim Wenders, Nicholas Ray says “you can’t go home again.” Sometimes I think about this phrase, and in order to calm down I imagine myself as a Chinese who came home. “I’m just a Chinese who returned home,” wrote Kafka in a letter. Sometimes I wish I were this Chinese, but only sometimes. Because the truth is that what I write frequently brings me to a descent, a fall, a journey within, an excursion to the end of the night, the complete opposite of a return to Ithaca. In short, I long to journey endlessly, always in search of something new. Always alert.

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