29 September 2010
In case you hadn’t heard, a new production of The Great Gatsby, “Gatz,” has opened at The Public Theater in New York. It is an 8-hour production, staged in a contemporary-ish office setting, featuring every word of the original text. Listen to Rebecca Mead and actor Scott Shepherd talk about it at the New Yorker. A notable revelation from Shepherd, having performed the text a few hundred times to date: that memorable, lyrical ending that we all know and love originally contained a typo. Instead of “orgastic,” the text read “orgiastic.” Oh, dear. For all of you who read Gatsby in high school, in particular, this may come as quite a shock/disappointment…
24 September 2010
I’ve written a piece about Matthew Crawford‘s Shop Class as Soulcraft over at The Millions. Crawford was an academic philosopher/director of think tank before realizing he hated the abstraction of his work, and so he opened up a motorcycle repair shop. I really enjoyed the book and find myself more and more aware of my relationship with things – a different kind of materialism from mere ownership, but rather stewardship. This is not to say that I am especially handy (though I can handle a power tool or two), or that I will necessarily become more so. But there is something to be said for curiosity; for paying attention to how things work, and to longevity of function in an increasingly short-term society.
My essay was positioned in the header next to an article called “Coffee With James Franco.” Well, heck: you can guess which article most folks are clicking on when they get to the home page (though I’m sure it wasn’t intended that way). But I’ve been seeing Mr. Franco everywhere lately, and so does he really need to appear next to my essay about slowing down and paying attention and focusing on concrete work? Oh, the irony. Protest clicks in favor of Shop Class welcome.
21 September 2010
There’s a feature on Philip Roth in the current issue of Esquire. I don’t think it’s online yet. At 77, Roth has a new book out, his 31st.
About the writing life, he says: “The ordeal is part of the commitment.” And: “Don’t judge it. Just write it. It’s not for you to judge it.” I like this bit, about Portnoy’s Complaint:
I let it rip. I had written three books prior that were all careful in a way. Each was different from the other, but they didn’t let it rip, and now was my chance. It was written at the tail end of the sixties, so all that was happening around one, and I was living in New York at the time, so theatrics around me gave me confidence.
17 September 2010
I’m a little crazy for Tony Bourdain. Adventurous eating — the kind that has no correlation to expensive or fancy eating — is a sort of moral imperative in my universe. Tony is king of this ethic. And, he never fails to make me very hungry.
In an interview with NOW Toronto, here’s what he has to say about his newest project:
I’ve got a graphic novel I’m doing with DC Comics called Get Gyro in the pipeline for next year. I describe it as Yojimbo meets Big Night and Babette’s Feast, an ultra-violent slaughter-fest over culinary arcana.
Did I mention Tony is also a brilliant ad man?
15 September 2010
I’m doing a two-part “Staff Pick” for September at The Millions: two books about work. Today, a brief look at Donald Hall‘s Life Work, a book that’s been vital to me since my early years of “Am I a writer?” angst. Also, very much my inspiration for lighting out to the country and finding my (slow) rhythms for work. This, along with Annie Dillard’s The Writing Life would likely be among my top 5 desert-island books.
Next week, I’ll write about Matthew Crawford‘s Shop Class as Soulcraft — wherein “a philosopher-motorcycle mechanic makes the case for the cognitive riches of manual work, for living concretely in an abstract world.”