alexsarll: (Default)
Another film I'd been meaning to see for ages: Network. Like They Live, I wonder whether its anti-TV vitriol is still too much for it to be broadcastable? Strange if so, because if Network has one message it's not anger - even if it is the "I'm as mad as Hell and I'm not going to take this anymore" speech which everyone quotes. No, it's how the Spectacle will assimilate anything, spoilers, for a 1976 film, but still ) Just look at all the money Rage Against the Machine made Sony last Christmas.

The Sunday wobble about which I've posted previously wasn't the whole weekend, of course. There was a leaving do for [livejournal.com profile] rosamicula, which doubled as a welcome home for [livejournal.com profile] dawnage and whatever Rick's LJ is, as if in obedience to some hitherto unknown Law of Conservation. At the Walrus, which I've always wanted to check out simply for the name, but which I usually only pass en route to the more prosaically named Horse. I'm not sure what it would be like as a winter pub, but in summer, it has the garden to be a godsend. Then another new drinking destination for Saturday's birthday festivities, Bourne & Hollingsworth, which exists somewhere between wartime speakeasy and provincial tea-room, and serves cocktails in teacups, and where I made my first attempt at MP3 DJing, for a given value of 'DJing' and certainly not one which merits posting a setlist, before heading on to DSM where I remember very little beyond the presence of the DBB. I blame the Laundry novels for any current addiction to TLAs.

The sketch which made me laugh most in last night's (as ever, admittedly patchy) Mitchell & Webb was Caesar. But the ones which most impressed me were the one where they bit the Apple hand that feeds, and especially the opening self-criticism session. As against Peep Show, their own work sometimes gets accused of a certain traditional, cosy quality. Good to see them rolling with those punches and coming back with this level of savagery.

When it wasn't giving me the fear re: space, one of the things I like about that Ray Bradbury collection* I'm reading is that, for all that it came out through a science fiction imprint, it doesn't feel obliged to be all SF. I'm only a quarter of the way through, but if a story doesn't need to involve a spaceship or a time machine, then Bradbury doesn't throw one in just to keep within his genre; sometimes all you need is two men meeting on a beach. As I may have mentioned once or twice before, I'm not too keen on genre boundaries, which is why a project like the Neil Gaiman co-edited anthology Stories interests me. If you know McSweeney's Mammoth Treasury of Thrilling Tales, this is basically a less confrontational, more entryist approach to that. The cover, instead of a masked lion-tamer, is just contributor names - it's almost as studiedly uninformative as the title. And where Chabon's introduction railed against "the contemporary, quotidian, plotless, moment-of-truth revelatory short story", Gaiman simply extols the joy of the story in which the main question is - "what happened next?" The two share a couple of authors - two of the big beasts, in fact, Michael Moorcock and Gaiman himself, both among the main reasons I'm reading either collection in the first place. Beyond them, Stories makes a deliberately wide-ranging selection. There are other people I actively want to read - Gene Wolfe, Joe Hill. There are people I've vaguely meant to read - Michael Swanwick, Walter Mosley. Then there are people I'd never have thought to read, some reviewers' darlings - Joyce Carol Oates - and some big sellers - Jodi Piccoult. The clever bit being, of course, that for any reader, each of those four categories is going to include a completely different selection of names. In the interests of fairness, I'm reading every story, and if I've not been convinced to investigate the oeuvre of any of the writers I wasn't already interested in, nor has any of them been quite as bad as I expected (though there is something of a fixation on stories of elderly siblings). Obviously, part of me hopes that the people coming in for Oates will be rather more impressed by Gaiman...but the world's not quite that satisfying, is it? And if nothing else, I will probably read some more Mosley. Maybe even some Swanwick, though I was put off by the self-evident falseness of one of his central conceits: apparently characters in books don't read books. Even leaving aside the bookish heroes of MR James, Lovecraft and Borges, what about Dorian Gray, Don Quixote, Scott Pilgrim?

*I put the non-Bradbury part of Monday's post into the 'who do you write like' meme currently prowling Livejournal, and it told me Edgar Allen Poe. I was quietly pleased, but then realised I was missing a trick, especially when I saw Bradbury himself was one of the answers, and entered his contribution instead, but apparently he writes like Douglas Adams.
alexsarll: (death bears)
On Monday, as you may have seen in the papers, I went to Stationery Club (although obviously the paper is incorrect in its assertion that I was drinking beer. As ever, it's left to the bloggers to correct Old Media's mistakes). I'm not even that fussed about Post-its, really. But a live videochat with one of the inventors? That's a big deal. There was one point I'd have liked to raise, but I didn't really formulate it properly. Still haven't, in fact. But it goes something like this: there was a Spider-Man story years back, addressing the issue of why someone who could concoct that web fluid without proper lab facilities should be working hand-to-mouth as a photographer when he was clearly a brilliant chemist. So Peter Parker goes into a chemical company and they say, sorry, there's no market use for an incredibly strong adhesive which disappears without trace after an hour. Now, that's self-evidently nonsense, but even if it weren't, the example of Post-its - a use being sought out for a very poor adhesive, creating a product which, if unnecessary, is very lucrative - would disprove it. I suppose I was simply interested in whether Geoff Nicholson was aware of that. Instead, I just ended up with Post-its on my face, my pint and (in one weak visual pun) a heart on my sleeve.

Tuesday: the debut Proper London show by Bevan 17 or, as they're ludicrously claiming to be called in what is obviously a sop to [livejournal.com profile] steve586's rampant ego, If.... The fourth full stop there was to end the sentence, I'm not sure whether that's correct form in such cases or not. Normal practice on liking a band is to compare them to other bands one likes - and I suppose there is a little One More Grain in there, not that I have any reason to believe any of Bevan 17 have heard One More Grain, few enough people did. But mainly I am reminded of bands I don't quite like, fixed. I always thought the Fall might be quite good if they weren't fronted by a bus station tramp; here it's [livejournal.com profile] exliontamer instead, who is eminently presentable and well-spoken. Or Stereolab - I like 'French Disko', but otherwise found them just a bit too Gallic and inert. If they weren't, they might have ended up somewhere near here. They cover John Cooper Clarke with a Scott Walker intro, and get away with it. They come up with the second riff on PIL's "anger is an energy" that I've heard in one afternoon, and even though I really like Pagan Wanderer Lu, Bevan 17's is better.

And last night I played a frankly shambolic game of 40K, but the less said about that the better. So instead I should probably record how much I loved Michael Moorcock's Gloriana, or the Unfullfil'd Queen, a dialogue with Spenser that anticipates Camille Paglia's thoughts on Spenser as precursor to de Sade. I knew Moorcock and Angela Carter had something of a mutual appreciation society going, love across the genre barricades, but even given the pantomime matriarch Ma Cornelius, this is the first time I've read a Moorcock book which I can imagine Angela Carter writing - "the palace glares with a thousand colours in the sunlight, shimmers constantly in the moonlight, its walls appearing to undulate, its roofs to rise and fall like a glamorous tide, its towers and minarets lifting like the masts and hulks of sinking ships". Not that I don't love his outright fantasy and SF, but this would be a great introduction for those more sceptical of such things. So long as they don't mind a fair amount of rather abtruse filth along the way.
alexsarll: (Default)
Finally seen No Country For Old Men and...well, OK, it's not actively awful like most films which win loads of Oscars lately, but I don't quite understand the fuss. But then, The Big Lebowski aside, I never did quite get the Coens - they make films I watch once and enjoy, but then feel no urge ever to revisit. I will concede that, in Anton Chigurh, the film has one mesmerising performance, and that its reluctance to go for one of the standard thriller resolutions is commendable. I'll further admit that their sense of whimsy does a lot to leaven the relentless, slightly monotonous bleakness which put me off Cormac McCarthy when I tried to read another of his - this is as much a film about bad service and dumb questions as heists gone wrong. But at no stage was I either as gripped, or as amused, as I was watching Psychoville. At no stage did I find myself thinking that yes, this is what film-making is about, which I felt plenty during last week's Ghostbusters marathon (and how had I never twigged before that the Warden from Oz = Winston the black Ghostbuster, aka Ernie Hudson?).
Also: while finding that No Country For Old Men link above, I learned that next year will see a Clash of the Titans remake. As much as I hate moaning about remakes - so predictable, so lacking in historical sense, so selective in its examples - I do feel fairly confident that this one deserves to be stopped by rampaging stop-motion monsters.

Michael Moorcock interview in which we learn that he doesn't read SF, and feels something of the same rage towards the steampunk he helped birth as his mate Alan Moore does towards the grim'n'gritty trend in comics. Bless the old curmudgeon. If nothing else it got me to dig out some more of his End of Time stories - possibly my favourite of his work, given they concern near-omnipotent immortals heavily inspired by the 1890s, who live out Earth's twilight in a round of parties and fads. My people, in other words.

I've already bemoaned the cancellation of Captain Britain and MI:13, but the new issue suggests that it's not even going to go out with its standards intact. By which I mean no slur on the writing or the art, but someone in lettering and/or editorial has let through a 'your' for a 'you're', a 'corps' for 'corpse' and a couple of other, lesser infelicities. Poor show. Phonogram, on the other hand, came through with my favourite issue so far of the second series, because after sweet little Penny and normal Marc, now we have an issue devoted to the first series' Emily Aster, a vain, damaged and in many ways quite annoying young woman. ie, just the kind of person who it's great to have around because she keeps you on your toes - and doubly so in fiction where she's can't really cut loose on you. I'm also left intrigued as to whether, for instance, we'll ever find out what that townie girl was doing at an indie night like Never On A Sunday. Although, I do slightly dispute Emily's test for whether a club's indie (is she more likely to hear a record which sold eight copies in 1977 than whatever's Number One now?). The rules are: if the flyer lists bands - whatever those bands are - then it's an indie club. If it lists DJs, it's a dance club. And if it lists drinks promotions, it's a pop club.
alexsarll: (Default)
It's not just that Johnny Vegas seems to have catastrophically misjudged the situation when he tried to redefine sexual assault as comedy; his timing sucked, because even had it come off as outrageous comedy rather than simple outrage, it could never have been as funny as a seal attempting to mate with a penguin.
One wonders whether the ghost of Dworkin would insist that the seal must have been reading p0rn, or that really this was about power rather than sex? Dworkin, incidentally, is among the topics on which Laura Kipnis' The Female Thing is mercilessly brilliant. Don't take that to mean Kipnis is one of those dreadful Mail-endorsed types repenting of feminism; she demolishes those quislings just as thoroughly as the 'wounded bird' school of feminism, but what she does best of all is anatomising how the Spectacle (although she never uses that word - call it global capitalism if you will, or the Thing - you know the one) has used feminism, just as it does everything else, to play the workers off against each other to the system's benefit. Not that she lets that take her off into the 'back to the village' territory where Greer among others seems to have got stuck; she is justly puzzled by the way in which feminism has often hymned Nature when in so many ways it was nature which dealt women a bad hand, and culture which has enabled such steps towards equality as have been managed, not least by building a world in which physical strength is no longer paramount, and sex need no longer entail all the risks and discomforts of pregnancy.
If the book has a flaw, it's that Kipnis doesn't have many answers, but simply by asking the right questions she's ahead of the game. Normally, even feminist books which have some great stuff in will end up spiralling off into facepalm territory at other points - hi there, Female Chauvinist Pigs. Whereas Kipnis is wall to wall 'Yes!' Constant 'You've hit the nail on the head!' Which nuance and smarts, inevitably, have meant an almost total lack of media storm compared to more high-concept, more obvious, less incisive alternatives. So it goes.

Doesn't it make you mad the way nobody has a real job? It's like everybody's scamming everybody else for scraps...everything breaks. No one remembers anything. The present is just a blank and all the time it feels like there's this great catastrophe impending...and the only thing that's holding it at bay is spit and lies. Do you feel that?
- Alex Cox, Waldo's Hawaiian Holiday (The "Quasi-Sequel" To Repo Man)

So far, most of the morning's strategy meeting had been devoted to coming up with a political logo. The pirates were very keen that it should reflect both the Captain's caring, inclusive side, but also his tough leadership qualities. After a lot of debate they had eventually decided on a picture of a bush baby holding a brick.
- Gideon Defoe, The Pirates! In An Adventure With Napoleon

Managed about 60 pages of Nicola Barker's Darkmans, which is 60 more than I'd read of most Booker-shortlisted works. It didn't seem to be wholly worthless, but fundamentally it was still coming across as a middlebrow Iain Sinclair. I'm sure if you've never read a book about the past bleeding into the present on London's edgelands as development tries to erase it, then it's very good. Personally, if I want that and I'm in the mood where Sinclair's too dense for me, I've got the pulpy vitality of Moorcock.
Of course, this left me with something of a quandary since I had those 800+ pages earmarked to see me through my week off, and none of the other options were quite right. I enjoyed Alan Campbell's Scar Night a lot, once I finally got round to it; it's His Dark Materials meets Perdido Street Station without seeming cynical about it. But it's too recently read for me to start the sequel just yet. Similarly, I need a little longer to recover from The Wire before I dive in to George Pelecanos. And yes, it was good of that Dalai Lama biography to turn up on the very day when I'd been wondering over my toast whether such a thing existed, but it's the fiction itch that needs scratching. So more or less at random, out of the stacks came Derek Raymond's The Crust On Its Uppers, and it's shaping up rather well. In a way it's a companion piece to Mad Men, set just as the sixties begin to swing, in an insular society of alpha males - but here it's London's gangland, the sort of place where Performance starts out. I'm just suprised Guy Ritchie or one of his imitators hasn't filmed it yet; sure, much of the effect is in the cant-heavy prose, but that never normally stops anyone.

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