{"id":75152,"date":"2014-08-08T16:51:42","date_gmt":"2014-08-08T20:51:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=75152"},"modified":"2014-08-08T16:51:42","modified_gmt":"2014-08-08T20:51:42","slug":"what-were-loving-atomic-weapons-augustus-ang-lee","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/08\/08\/what-were-loving-atomic-weapons-augustus-ang-lee\/","title":{"rendered":"What We\u2019re Loving: Atomic Weapons, Augustus<\/i>, Ang Lee"},"content":{"rendered":"
\"Bronze<\/a>

The bronze head of Augustus with glass and alabaster eyes; from Mero\u00eb, Sudan, ca. 27\u201325 BC. Photo: British Museum<\/p><\/div>\n

\u201cI have worked\u00a0in an atomic weapons depot, a Veterans\u2019 psychiatric hospital and a perfectly awful mental hospital for juveniles, and in all of these places I did what I was told to do, and gave my notice when I had had it with the life they offered.\u201d So begins Mike Kirby\u2019s\u00a0\u201cDiary\u201d<\/a>\u00a0in last week\u2019s London Review of Books<\/em>. With his description of making and testing bombs, Kirby shows\u00a0you don\u2019t have to picture the stuff a writer describes\u2014you don\u2019t even have to understand what he\u2019s talking about\u2014to follow his train of thought or remain under the spell of his voice.\u00a0(And no, this staff pick has nothing to do with our\u00a0special summer offer<\/a>\u2014but, yes, right now you can get a year of both the LRB<\/em> and The Paris Review<\/em> for $60.) \u2014Lorin Stein<\/strong><\/p>\n

There are so many things about John Williams\u2019s Augustus<\/a><\/em>, the newly reissued winner of the 1973 National Book Award, that shouldn\u2019t work. First, it\u2019s an epistolary novel\u2014a form that always stretches credibility, by my lights, because to advance the plot its letters must make long forays into exposition, and real letters seldom do. Two, it tracks the lives of white men who\u2019ve been dead so long their names are shrouded in the dust of antiquity: they can be hard to tell apart. Three, it deigns to speculate on the inner life of the most famous of these men, the founder of the Roman Empire, and that kind of conjecture almost always seems presumptuous in a novelist. And yet Augustus<\/em> is gripping, brimming with life. Daniel Mendelsohn\u2019s smart, thoughtful introduction<\/a> gets at why: central to the novel, he says, is \u201cthe conflict between individuals and institutions\u201d\u2014a fecund concern in any age. But none of its drama would bear fruit if Williams weren\u2019t such a close observer of human behavior. \u201cThe concerns of this spectacular historical saga are intimate and deeply humane,\u201d Mendelsohn writes. \u201cLike the best works of historical fiction about the classical world \u2026 \u00a0Augustus <\/em>suggests the past without presuming to re-create it.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

For forty years, Ted Kotcheff\u2019s 1971 film Wake in Fright<\/a><\/em> was believed to be lost\u2014the editor Anthony Buckley made it his mission to find a surviving print. It\u2019s one of the most shocking and uncompromised studies of male degradation ever put on celluloid. By the end of the film, we\u2019ve seen drunken fistfights, rape, and a gruesome moonlight kangaroo hunt; we\u2019ve watched as a cultured schoolteacher comes to emulate the chauvinistic drunkards he despises. Though it was reviled upon its initial release, the film, along with Nicolas Roeg\u2019s Walkabout<\/em> and Tim Burstall\u2019s Stork<\/em>, paved the way for the Australian New Wave and gave filmmakers such as Fred Schepisi and Peter Weir the courage to make films like Mad Max<\/em> and The Devil\u2019s Playground<\/em>. The Australia of Wake in Fright<\/em> is populated by men who have become accustomed to the harshness of nowhere. Welcome to hell. Stay a while. \u2014Justin Alvarez<\/strong><\/p>\n

Hot on the (platform) heels of last night\u2019s seventies-themed celebration<\/a> of Rick Perlstein\u2019s The Invisible Bridge<\/a><\/em> at the office, I offer a rather different rendering of the age of synthetic fibers via Ang Lee\u2019s 1997 adaptation<\/a> of Rick Moody\u2019s The Ice Storm<\/em>. Set during Thanksgiving 1973, the film captures, with Lee\u2019s signature precision, the full gamut of seventies escapism\u2014and yeah, there\u2019s a swingers party. But beneath the water beds and shaggy hairstyles, this is a movie about adolescence; its cast of teenagers wants desperately to experience adult life, and yet they\u2019re utterly unprepared for the series of very adult situations in which they find themselves. The scene in which two characters question whether or not their parents will get divorced has an unforced, awkward closeness to it that rings true. Lee gets at something difficult to describe about coming of age: often it\u2019s not a gradual process but a baptism by fire. \u2014Chantal McStay<\/strong><\/p>\n

And while I\u2019m on the topic of the seventies: I can only listen to the Bee Gees for so long before thinking of this ingenious little ad<\/a> for MTV\u2019s The State<\/em>, which aired in 1994. The commercial, set to Robin Gibb crooning \u201cI Started a Joke\u201d (in perhaps the most wonderfully literal application of that song ever), uses the underappreciated sketch show\u2019s absurdly negative reviews as selling points. Michael Ian Black, Ken Marino, and the rest of the crew mope around as pithy put-downs like \u201cSignificantly less than sporadically funny\u201d and \u201cMore miserable crap\u201d flash across the scene\u2014twenty-eight seconds of pure delight. \u2014CM<\/strong><\/p>\n

In his book Jokes: Philosophical Thoughts on Joking Matters<\/a> <\/em>and his essay \u201cHumor,\u201d the philosopher Ted Cohen presents a lucid, accessible theory about jokes: that there cannot and should not be any such theory. Like art, he says, jokes transcend explanation\u2014it\u2019s the inexplicability and unexpectedness of the thing that usually accounts for its being funny. What we are<\/em> able to say about jokes is that they form a sense of community, and Cohen is smart about this: he says that joke-telling provides occasions to see the amusement in me echoed by the amusement in you (provided you like my joke, of course). These moments of mutual recognition are not, unlike the jokes, to be taken lightly. \u2014Parker Henry<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI have worked\u00a0in an atomic weapons depot, a Veterans\u2019 psychiatric hospital and a perfectly awful mental hospital for juveniles, and in all of these places I did what I was told to do, and gave my notice when I had had it with the life they offered.\u201d So begins Mike Kirby\u2019s\u00a0\u201cDiary\u201d\u00a0in last week\u2019s London Review […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[8746,373,14913,3217,14915,14916,14914],"class_list":["post-75152","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-ang-lee","tag-john-williams","tag-mike-kirby","tag-rick-moody","tag-rick-perlstein","tag-ted-cohen","tag-ted-kotcheff"],"acf":[],"yoast_head":"\nWhat We\u2019re Loving: Atomic Weapons, Augustus, Ang Lee<\/title>\n<meta name=\"description\" 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