Posts From Author: Charles Arrowsmith
Manhattan Follies: Amor Towles’s Rules of Civility
“It is a lovely oddity of human nature,” observes our heroine, Katey Kontent, “that a person is more inclined to interrupt two people in conversation than one person alone with a book, even if it is a foolish romance.” Commuting readers of Amor Towles’s debut novel, Rules of Civility, will certainly find themselves grateful for this lovely oddity as they immerse themselves in Katey’s world. The story, which concerns the good and not-so-good decisions made by Katey and her friends over the course of a single year (1938), is told from the perspective of her older self. Her memory is stirred by “Many Are Called”, an exhibition of photos Walker Evans surreptitiously took of regular Americans on the subway during the 1930s. In it, she sees two photos of a man she had known briefly very well, Tinker Grey, but had fallen out of touch with. The photos take her right back to the last day of 1937, when she and her friend Eve Ross first set eyes on Tinker… The Rules of Civility are the hundred and ten precepts a young George Washington jotted down in a writing exercise as a schoolboy in Virginia (see the full list here). […]
Read More1922 and All That: Kevin Jackson’s Constellation of Genius
Let’s try to imagine the reactions of an unprepared, average reader of 1922, content with his beer and skittles and his Kipling. Suddenly, enter a skinny, shabby Irishman and a natty, quietly sinister American between them hell-bent on exploding everything that realistic fiction and Georgian poetry held dear. Enter also Pound, Proust, Freud, Hemingway, Kafka, Matisse, Picasso, Stravinsky, Gershwin, Le Corbusier, Chaplin, Buñuel… The cast list of Kevin Jackson’s marvellous journal of a watershed year, Constellation of Genius: 1922 – Modernism Year One, certainly justifies its title. It was a year bookended by the publications of James Joyce’s Ulysses and T.S. Eliot’s The Waste Land, but to isolate the two would be to cut them senselessly adrift and Jackson wisely immerses us instead in context. He moves day by day, noting the major and minor biographical details of his subjects and the principal political events of 1922, from Mussolini’s rise to power to the Irish Civil War. Letters and diaries are ransacked for their contemporary insights. And there are some great one-liners, too (January 20, Iowa: “Christian K. Nelson took out a patent on the Eskimo Pie”). Here are ten things I learned: André Breton helped Proust with the corrections […]
Read MoreThe Bon Mots of Michael Riedel
Nothing generates as much excitement around town as a smash hit musical. Or, if you’re a bit of a vulture (and I am), a complete fiasco wherein millions of dollars are lost, people are at one another’s throats and reputations are ruined. — Michael Riedel, in an article from September 2003 Michael Riedel was our guest at last week’s Seriously Entertaining “Are You For Sale?” at City Winery. He spoke with wit and love of the late Jacques le Sourd, a critic-colleague of his whom he had known for many years. (In)famous for his outspoken, occasionally outrageous criticism, Riedel has worked as theatre critic for the New York Post for more than 15 years. To celebrate his SpeakEasy debut, we take a look at his work in the Post and on his PBS show Theater Talk. ‘Bullets Over Broadway’ on target to kill at Tonys A recent one to kick off, covering the musical adaptation of Woody Allen’s 1994 movie Bullets Over Broadway, which is currently in previews at the St. James Theatre. Part of what makes Riedel’s work so entertaining is his acknowledgement of his own reputation. It was there in his work on the TV show Smash, whose […]
Read More“Go for the pleasure first, always”: Lars von Trier’s NYMPH()MANIAC, Vol. I
Spoilers throughout. Be warned. “I discovered my cunt as a two-year-old,” says Charlotte Gainsbourg’s Joe a few minutes into Lars von Trier’s new film, NYMPH()MANIAC. Forgive the language — but if part of the purpose of reading criticism is to assess what one might want to see or read, it’s important to be upfront: this is an extremely graphic film, sexually. Still, if you enter Joe’s story with the open-mindedness of her samaritan-confessor, Stellan Skarsgård, there’s much to enjoy. Trailer just about safe for work — but careful what you google: NYMPH()MANIAC is the third film in von Trier’s informal trilogy on the theme of depression that began with Antichrist (2009) and was followed by Melancholia (2011). Like its predecessors, NYMPH()MANIAC features a hyper-stylised opening sequence that sets the tone for the rest of the film. First we see nothing — but we hear the drip-drip-trickle of rainwater and the distant sound of trains. Then the opening shot, a deserted alleyway, played in silence. A series of beautiful close-ups follow, sound reattached: rain falling on dustbin lids, an abysmal vent in a grimy wall. Cut to a wide shot of Gainsbourg lying wounded and unconscious, and a stunning, abrupt blast of Rammstein on the soundtrack, reminiscent of Michael Haneke’s use […]
Read MoreAre You For Sale?
Where might you find French resistance fighters, E.E. Cummings, a Broadway critic with a freewheeling approach to life, Bessie Smith singing the blues, and a Wimpy Kid with a passion for Brazilian TV? Only at the House of SpeakEasy… Susan Cheever was first up this month, answering the evening’s main question right off the bat: “E.E. Cummings was certainly for sale!” Now acknowledged as one of the twentieth century’s greatest poets, Cummings wasn’t beneath hawking his poetry round the publishing houses back in the twenties and thirties, even dedicating one poetry collection (No Thanks) to the fourteen publishers who’d turned him down. Last month Cheever published E.E. Cummings: A Life (Pantheon), and it was from this that she took her tale for the night. Cummings had one child, Nancy, from his first marriage, to Elaine Orr. “Everything went well until Elaine fell in love with someone else — a real son of a bitch called Frank McDermott,” as Cheever recalled. Elaine annulled her marriage to Cummings and took the baby with her to Ireland to live with McDermott. “Finally, Cummings didn’t see Nancy any more. And Nancy led a kind of expat princess life, knowing absolutely nothing about her past.” Two decades later, through a series […]
Read MoreCurtain Call: Are You For Sale?
As spring finally seems to be bursting out over a thawing Gotham, so the House of SpeakEasy is bursting with excitement about the line-up for next Tuesday’s show. It’s quite the team: writer Susan Cheever, composer/lyricist Michael Friedman, author and cartoonist Jeff Kinney, writer Kate Mosse and journalist Michael Riedel will all be answering (or maybe asking?) the question “Are You For Sale?” By way of introduction, here’s a short gallery of video gems. Susan Cheever is famous for both fiction and nonfiction. We took a look at her latest book, E.E. Cummings: A Life, last week (see here). Other biographical writings include My Name is Bill – Bill Wilson: His Life and the Creation of Alcoholics Anonymous; Home Before Dark, a memoir of her father, the writer John Cheever; and American Bloomsbury, which tracks the lives of Emerson, Thoreau, Hawthorne, Alcott and their hugely influential set in the mid-nineteenth century. Her novels include A Handsome Man and Looking For Work. Here’s Cheever at the New York State Writers Institute on becoming a writer. “It was clearly not something I wanted to try and do in my family! […] And you spend most of your time worrying about paying your child’s orthodontist’s bills…” Jeff Kinney is one of the most […]
Read MoreRendez-Vous With New French Writing
French screenwriters are unstoppable at the moment. Two of the best films of the last five years — Michael Haneke’s Amour and Leos Carax’s Holy Motors — hailed from France; in the last six months alone, we’ve seen The Past, Stranger By the Lake and Blue is the Warmest Color. These films have taken cinematic expression to new heights in the sexual, emotional and cerebral realms. So it is joyeux news indeed that the 19th annual Rendez-Vous with French Cinema, presented by the Film Society of Lincoln Center and Unifrance Films, is currently in full swing at cinemas across New York. We cheer the sudden influx of great original writing into movie theatres glutted most of the year with remakes, sequels and adaptations. We cheer the effort Rendez-Vous put in to flying in directors and stars to talk to eager audiences after screenings. We cheer the IFC, BAM, Film Society of Lincoln Center and the French Institute for devoting their programming to twenty-four untested subtitled films. I was lucky enough to catch three of them in the last few days. Spoiler alerts! https://www.youtube.com/watch?v=IzSJ5mijWyA François Ozon’s new film, Young & Beautiful, opens on a teenage girl sunbathing topless on an immaculate beach while […]
Read MoreBloody Brilliant Michael Friedman
Michael Friedman is the composer and lyricist behind an astonishing range of theatrical output over the last fifteen years. He wrote his first musical for The Civilians, a downtown theatre group he helped co-found in 2001. Canard, Canard, Goose? was also The Civilians’ first show, taking as its subject alleged geese abuse on the set of the Hollywood movie Fly Away Home. The Civilians’ method of working is a little like verbatim theatre in that the shows are based on interviews with real people. What’s different is that the final product is a heightened version of what emerged from those interviews, as you can probably tell from the sublimely silly Canard (the plot of which effectively disintegrates when the Civilians team realises that the movie wasn’t in fact shot in the hamlet where it was set but in Ontario). You can hear the whole show in this podcast recording of the 10th anniversary concert performance at Joe’s Pub. Canard set the offbeat tone for an eclectic career. Friedman went on to write the music for a series of shows, some with The Civilians, some not, including In the Bubble, based on the John Travolta movie The Boy in the Plastic Bubble; the children’s show Katie Couric’s The Brand […]
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