Madeleine L'Engle has died at the age of 88. I remain fond of the Time Quintet and The Crosswicks Journals; when I first read them, I felt like I'd been given permission to breathe. Our first daughter was named after her.
Post Script, Sept 17: I'm gratified to see the New Yorker has finally made this profile of Madeleine L'Engle available on-line. It isn't quite the hagiography that other profiles have been, and it's certainly not the hagiography that L'Engle herself was prone to write. But neither is it the character assassination that some of L'Engle's readers make it out to be. In fact, I think it brings forward the sort of background detail that makes her fiction more compelling than it appears at first (uninformed) glance. I'm thinking particularly of A Live Coal In The Sea.
Also: a salute from Laurel Snyder. "To compare L'Engle's universe to the stuff cluttering the post-Harry Potter marketplace is to compare a unicorn to a goat with one horn sawed off" -- nice! Via KtB.
Friday, September 07, 2007
Thursday, September 06, 2007
On The Platter
I have friends who are absolutely bonkers over Richard Thompson -- his music, that is. I'd get CDs for my birthday (always welcome) and give them a spin, but I never quite caught his appeal. There was no denying the man's musical virtuosity: he's one of those rare singer-songwriters who'll move the song to either side of the 12th fret, and I can't think of anyone else who bends a note to quite the same degree (well ... Robbie Robertson, but what's he done for us lately?). But the man's vocal delivery frequently dipped below cool into a little too cool.
And who could blame him? Half his songs explore the inner lives of freaks and geeks who are bent on alienating everyone within spitting range. What person in his right mind wants to get close to, for instance, the young, angry, befuddled, would-be Casanova who's taken all his erotic leads from porno ("Read About Love")?
Then I saw him perform on stage -- just the man and his guitar. Thompson is a guy who loves an audience, and he knows how to keep them listening. His songs, even the sad ones, were a lark, and he usually acknowledged the raucous applause he received with, "Ah, but you're a wacky bunch!" This throw-away flaming of Kenny G. pretty much captures the mischief I experienced.
I picked up Live From Austin, TX, and wasn't at all sure what to expect. It's markedly different from my single-concert experience: he has a band backing him up, for one thing. He also reins in his more impish impulses, and delivers a very polished and professional performance. The "cool" factor is back, but I don't mind. In fact, I can almost see why he has fans who follow him around on tour. Almost.
Janiva Magness, on the other hand, is a very different performer. I've raved about her before, and played Do I Move You? at the cafe for three months running. Blues Ain't Pretty is pulling me deeper into the cult of Janiva. I can't muster the emotional distance to describe Magness's style, unless I summon Thompson as a counterpoint: when Magness sings, there is no distinction between the singer and the song. That makes for quite a heady experience, particularly when combined with guitar stylings that seem soaked in beer and cigarette smoke (courtesy of Kid Ramos and Kirk Fletcher). I love it, and very much hope to see the woman perform live.
Richard Thompson's site is here. Janiva Magness's site is here. And this is her MySpace page.
And who could blame him? Half his songs explore the inner lives of freaks and geeks who are bent on alienating everyone within spitting range. What person in his right mind wants to get close to, for instance, the young, angry, befuddled, would-be Casanova who's taken all his erotic leads from porno ("Read About Love")?
Then I saw him perform on stage -- just the man and his guitar. Thompson is a guy who loves an audience, and he knows how to keep them listening. His songs, even the sad ones, were a lark, and he usually acknowledged the raucous applause he received with, "Ah, but you're a wacky bunch!" This throw-away flaming of Kenny G. pretty much captures the mischief I experienced.
I picked up Live From Austin, TX, and wasn't at all sure what to expect. It's markedly different from my single-concert experience: he has a band backing him up, for one thing. He also reins in his more impish impulses, and delivers a very polished and professional performance. The "cool" factor is back, but I don't mind. In fact, I can almost see why he has fans who follow him around on tour. Almost.
Janiva Magness, on the other hand, is a very different performer. I've raved about her before, and played Do I Move You? at the cafe for three months running. Blues Ain't Pretty is pulling me deeper into the cult of Janiva. I can't muster the emotional distance to describe Magness's style, unless I summon Thompson as a counterpoint: when Magness sings, there is no distinction between the singer and the song. That makes for quite a heady experience, particularly when combined with guitar stylings that seem soaked in beer and cigarette smoke (courtesy of Kid Ramos and Kirk Fletcher). I love it, and very much hope to see the woman perform live.
Richard Thompson's site is here. Janiva Magness's site is here. And this is her MySpace page.
Wednesday, September 05, 2007
Paying For Technology
After the passenger window got replaced, after all those freakishly square shards of glass had been vacuumed up, after all the stuff -- maps, Archie Digests, Harry Potter CDs, serviettes, Chickadee magazines -- was back in its proper spot, we were left with the impression that nothing had been stolen. Even my sunglasses were still there, forcing me to finally admit they were scuffed and stylistically passé beyond redemption. If we could just overlook the inconvenience and expense of replacing the broken window, we could almost laugh about it.
Weeks later we figured out what was missing: the iPod, and that useless widget that fits into the cigarette-lighter.
My wife was saddened -- it had been my gift to her, and she made extensive use of its comforts during business trips away from the family. There was no question it would have to be replaced, but I'd become jaded enough toward the brand that I wasn't beyond considering the competition. I couldn't help noticing an alternative that sold for $200 less than my wife's former iPod, and offered as many features as the iPod that sold for $100 more. A difference of $300 is not insignificant, but I had to admit it didn't quite have the iPod's sex appeal -- also not insignificant. I ran it by my wife, who shrugged and said, "As long as it has the music, I'm fine with it."
It does, plus a few things the iPod did not have, including videos of our daughters. And it's a great deal friendlier toward Linux users than Apple is. Hoo, boy -- I very quickly learned how easy it is to bork-up an iPod. Apple's customer service techs ("Geniuses," they call 'em) are, on the face of it, a forgiving bunch. The guy who served me hooked up the device to his computer, cocked an eyebrow and said, "Curious: the software seems to have been tampered with. I'll just restore that for you..." He did, and threw in a few bonus tracks to boot. Bon Jovi, Toto, one or two songs from Flashdance -- even Milli Vanilli. He certainly knew how to hurt a guy. Just one more reason to go non-Apple for round II.
So far, I'm happier for the change; we'll see what my wife makes of it when she attends a conference in Chicago in a couple of weeks. She's too busy (and far too practical) to care, but rumor is there's a new iPod model coming down the pike. Will it wow like the phone did? Frankly I'm too busy and practical to care.
Other music-technology links: can Rick Rubin save big music? My take: he's got an uncanny ear for what people want to hear, but it remains to be seen if he's got a similarly revolutionary approach to its tech-delivery.
iPhone? ho-hum. Ubuntu phone? Hm. I'd like a closer look, please.
Weeks later we figured out what was missing: the iPod, and that useless widget that fits into the cigarette-lighter.
My wife was saddened -- it had been my gift to her, and she made extensive use of its comforts during business trips away from the family. There was no question it would have to be replaced, but I'd become jaded enough toward the brand that I wasn't beyond considering the competition. I couldn't help noticing an alternative that sold for $200 less than my wife's former iPod, and offered as many features as the iPod that sold for $100 more. A difference of $300 is not insignificant, but I had to admit it didn't quite have the iPod's sex appeal -- also not insignificant. I ran it by my wife, who shrugged and said, "As long as it has the music, I'm fine with it."
It does, plus a few things the iPod did not have, including videos of our daughters. And it's a great deal friendlier toward Linux users than Apple is. Hoo, boy -- I very quickly learned how easy it is to bork-up an iPod. Apple's customer service techs ("Geniuses," they call 'em) are, on the face of it, a forgiving bunch. The guy who served me hooked up the device to his computer, cocked an eyebrow and said, "Curious: the software seems to have been tampered with. I'll just restore that for you..." He did, and threw in a few bonus tracks to boot. Bon Jovi, Toto, one or two songs from Flashdance -- even Milli Vanilli. He certainly knew how to hurt a guy. Just one more reason to go non-Apple for round II.
So far, I'm happier for the change; we'll see what my wife makes of it when she attends a conference in Chicago in a couple of weeks. She's too busy (and far too practical) to care, but rumor is there's a new iPod model coming down the pike. Will it wow like the phone did? Frankly I'm too busy and practical to care.
Other music-technology links: can Rick Rubin save big music? My take: he's got an uncanny ear for what people want to hear, but it remains to be seen if he's got a similarly revolutionary approach to its tech-delivery.
iPhone? ho-hum. Ubuntu phone? Hm. I'd like a closer look, please.
Friday, August 31, 2007
The Winnipeg Neighborhood
There were parts of the old neighborhood that had changed significantly. An elementary school that had been located around the corner from my family's house was razed and its enormous yard rezoned for further suburban development. That added a few new streets, and a few dozen houses.
Commercially speaking, it was a case of the more things change, the more they stay the same. The mall where I first bought pizza by the slice and hung out with my mates was gone; in its place was a "Power Center" -- a parking lot hemmed in by the usual franchises and outlets. The automotive parts shop that kept my motorbike running was now a very flashy fitness center. A privately owned family restaurant where a number of my friends got their first job built a larger, swankier-looking restaurant -- right beside the old one, which was empty and looking for a renter. A little further down the main drag we passed a former Pizza Hut that now housed a dentist's office.
The dentist's office caught my wife's imagination. "That's Winnipeg right there," she said. "There's no telling what people will do with the buildings that are available to them. I mean, a dentist's office? The roof is still red, for Pete's sake!"
There is a certain degree of cognitive dissonance at play in commercial Winnipeg. Commercial Winnipeg has precious few neighborhoods, but it stretches through the entire city in very distinct arteries. As a consequence, the commercial life-cycles tend to be short-lived and the storefronts often shabby. Contrast this to Ottawa, a city of similar size, but with distinct commercial neighborhoods where a person can spend a few pleasant hours strolling.
When Carol Shields' Republic of Love received a rave in the NYTBR, Winnipeggers were duly proud. But when the reviewer concluded the piece by saying she wanted to take the next flight to Winnipeg to see these magical locations, even those of us who loved the city had to snicker. Shields consciously made use of existing locales, but if this person ever did catch that flight she was sure to have been shocked by what she saw. Winnipeg has a penchant for malls (due in no small part to the extremes in weather), but frequently struggles to come up with common spaces that are as vibrant and inviting as the tiny pockets portrayed by Ms. Shields.
But enough of my yakking. This is the storefront of my former employer (blogged about here):
The businesses on either side aren't much to look at; the drugstore-grill I mentioned has been re-tooled into a cheque-cashing joint and a Halal meat market, and a used-clothing store has taken residence to the east. I think the National Typewriter building is indicative of the challenge that Winnipeg faces on a massive scale. Here we have a pre-Depression era business building, more solidly constructed with an acute eye toward aesthetics than anything built in the last 50 years -- yet it languishes.
Here is another detail shot of the gables holding up what must now be a very leaky roof.
The stained glass detailing is simple and elegant. Unfortunately, what was once an apartment for a family is now in ruins, holding nothing but trash. There goes the neighborhood.
A little further east is the University of Winnipeg, which government man Lloyd Axworthy has taken under his wing as his next uber-project. The entirety of the U of W's green space is gone, and a massive redevelopment is under way. The university is uniquely located: literally next door to the city's bus depot. Also within easy access: the Salvation Army, the YMCA, the Hudson's Bay and the arena formerly known as Eatons. Just how Axworthy's development scheme will actually contribute to the neighborhood remains to be seen. I certainly wish it success, but can't help being somewhat skeptical. Winnipeg has seen its share of grand developments that missed crucial little details.
The tendency is for Winnipeg politicians to think big and act bigger -- hence big projects like The Forks. But there are also places where attention is being paid to smaller details, and where success has potentially deeper roots. The Old Market is one such, a neighborhood of turn-of-the-century multi-floor warehouses that are now home to studios, theaters, fashion designers, junkies, prostitutes and roll-up-yer-sleeves religious communities. Police headquarters are also right there, and with a little common sense the place can be safely navigated by foot or by car.
The Old Market also houses my new favorite bike shop: Natural Cycle.
The Emma Goldman Society has an office on the second floor, and the entire building is run via collectivist principles. Lay down a loonie and help yourself to a tire:
The bicycles for sale and for rent are chiefly scavenged mods (or, more accurately, vice versa), though NC also sells Dutch monsters, and isn't afraid of constructing its own models from scratch.
Here's a particularly flashy mod:
My last day of our visit, I talked with a friend over breakfast. I said that Winnipeg struck me as being similar to the village I was currently living in: some of our citizens are doing very well for themselves, most are working hard to get by, the mortgage rates are low enough that an artist can afford to starve here, and there is also a significant segment of the populace that is in trouble and is causing trouble. But everyone is used to getting into their cars to get what they want, and this has had its effect on the commercial neighborhood, and I think weakens the overall fabric of the community. If community ethics is the art of compromise, then I think the questions are: how best to counter this gasoline-fueled impulse? And how best to work with it?
Commercially speaking, it was a case of the more things change, the more they stay the same. The mall where I first bought pizza by the slice and hung out with my mates was gone; in its place was a "Power Center" -- a parking lot hemmed in by the usual franchises and outlets. The automotive parts shop that kept my motorbike running was now a very flashy fitness center. A privately owned family restaurant where a number of my friends got their first job built a larger, swankier-looking restaurant -- right beside the old one, which was empty and looking for a renter. A little further down the main drag we passed a former Pizza Hut that now housed a dentist's office.
The dentist's office caught my wife's imagination. "That's Winnipeg right there," she said. "There's no telling what people will do with the buildings that are available to them. I mean, a dentist's office? The roof is still red, for Pete's sake!"
There is a certain degree of cognitive dissonance at play in commercial Winnipeg. Commercial Winnipeg has precious few neighborhoods, but it stretches through the entire city in very distinct arteries. As a consequence, the commercial life-cycles tend to be short-lived and the storefronts often shabby. Contrast this to Ottawa, a city of similar size, but with distinct commercial neighborhoods where a person can spend a few pleasant hours strolling.
When Carol Shields' Republic of Love received a rave in the NYTBR, Winnipeggers were duly proud. But when the reviewer concluded the piece by saying she wanted to take the next flight to Winnipeg to see these magical locations, even those of us who loved the city had to snicker. Shields consciously made use of existing locales, but if this person ever did catch that flight she was sure to have been shocked by what she saw. Winnipeg has a penchant for malls (due in no small part to the extremes in weather), but frequently struggles to come up with common spaces that are as vibrant and inviting as the tiny pockets portrayed by Ms. Shields.
But enough of my yakking. This is the storefront of my former employer (blogged about here):
The businesses on either side aren't much to look at; the drugstore-grill I mentioned has been re-tooled into a cheque-cashing joint and a Halal meat market, and a used-clothing store has taken residence to the east. I think the National Typewriter building is indicative of the challenge that Winnipeg faces on a massive scale. Here we have a pre-Depression era business building, more solidly constructed with an acute eye toward aesthetics than anything built in the last 50 years -- yet it languishes.
Here is another detail shot of the gables holding up what must now be a very leaky roof.
The stained glass detailing is simple and elegant. Unfortunately, what was once an apartment for a family is now in ruins, holding nothing but trash. There goes the neighborhood.A little further east is the University of Winnipeg, which government man Lloyd Axworthy has taken under his wing as his next uber-project. The entirety of the U of W's green space is gone, and a massive redevelopment is under way. The university is uniquely located: literally next door to the city's bus depot. Also within easy access: the Salvation Army, the YMCA, the Hudson's Bay and the arena formerly known as Eatons. Just how Axworthy's development scheme will actually contribute to the neighborhood remains to be seen. I certainly wish it success, but can't help being somewhat skeptical. Winnipeg has seen its share of grand developments that missed crucial little details.
The tendency is for Winnipeg politicians to think big and act bigger -- hence big projects like The Forks. But there are also places where attention is being paid to smaller details, and where success has potentially deeper roots. The Old Market is one such, a neighborhood of turn-of-the-century multi-floor warehouses that are now home to studios, theaters, fashion designers, junkies, prostitutes and roll-up-yer-sleeves religious communities. Police headquarters are also right there, and with a little common sense the place can be safely navigated by foot or by car.
The Old Market also houses my new favorite bike shop: Natural Cycle.
The Emma Goldman Society has an office on the second floor, and the entire building is run via collectivist principles. Lay down a loonie and help yourself to a tire:
The bicycles for sale and for rent are chiefly scavenged mods (or, more accurately, vice versa), though NC also sells Dutch monsters, and isn't afraid of constructing its own models from scratch.
Here's a particularly flashy mod:
My last day of our visit, I talked with a friend over breakfast. I said that Winnipeg struck me as being similar to the village I was currently living in: some of our citizens are doing very well for themselves, most are working hard to get by, the mortgage rates are low enough that an artist can afford to starve here, and there is also a significant segment of the populace that is in trouble and is causing trouble. But everyone is used to getting into their cars to get what they want, and this has had its effect on the commercial neighborhood, and I think weakens the overall fabric of the community. If community ethics is the art of compromise, then I think the questions are: how best to counter this gasoline-fueled impulse? And how best to work with it?
Tuesday, August 28, 2007
The Necessary Facade
While visiting in Winnipeg, I took my wife to see one of the libraries I grew up in. It was late at night and we'd just finished a long, private dinner. We talked about the future, tried to figure out what choices we were facing and what plans we should make. Our daughters are edging into adolescence while my wife and I are sliding into middle-age, so these discussions can get a bit intense. Large emotions and expectations are compressed into a relatively short discussion, and a bit of breathing space and perspective is needed as a nightcap. My old neighborhood seemed like a good evening destination.
The library hadn't changed a bit. There it stood, next to the arena: one little box sharing a parking lot with a much larger box. I felt compelled to at least try to take some comfort in this — if the exterior was any indication, the interior might be unaltered as well. I remembered the bright florescent lights, the stacks devoted to 70s pop culture, vinyl cushioned chairs that made a kid so comfortable he lost track of time and had to be gently informed by the librarian that his mother had called to say supper was ready.
Of course, the interior has changed; so has the content and technology (card file and microfiche, say hello to the Internet). I knew this. It is a very different library from the one I spent my days in, so it peeved me to face an exterior that was unchanged. I didn't want to feel nostalgic toward this building. I wanted to see progress — add content, open up the space a bit, make it more inviting to the public. I wanted to face an aesthetic smirk, something that in effect said, “We've moved on, you geezer. What about you?” But I was facing a smirk of a different order.
The nearly immaculate preservation of an old library strikes me as a strange thing for me to get tetchy about, but there it is. Coincidentally, I've been playing a bit with my own appearance. When I finally recovered enough from my pneumonia to walk around town and visit with people, I received numerous compliments about how young I was looking. Losing 15 pounds will do that, but I'd also let my hair grow: my traditional buzz-cut was shaggy and some of my curl was back. At first, when told I looked “10 years younger,” I was tempted to reach for the clippers and combs, following a cussed impulse to look my age, dammit. I asked my wife for some insight, and she agreed that I didn't look as gray with longer hair, but more to the point, I also didn't look as severe (or probably grumpy, mopey and obsessed with mid-lifey things) as I do with a buzz.
The barber's chair still beckons, and I'm still tempted — especially when some photos look suspiciously like a guy who's trying to camouflage his receding hairline (one of my grandfathers had a notorious comb-over). But I've got enough hair to play with, so why not play? It's not about “looking younger,” it's about exploring possibilities and potential that in fact are there.
Next: a few Winnipeg photos.
The library hadn't changed a bit. There it stood, next to the arena: one little box sharing a parking lot with a much larger box. I felt compelled to at least try to take some comfort in this — if the exterior was any indication, the interior might be unaltered as well. I remembered the bright florescent lights, the stacks devoted to 70s pop culture, vinyl cushioned chairs that made a kid so comfortable he lost track of time and had to be gently informed by the librarian that his mother had called to say supper was ready.Of course, the interior has changed; so has the content and technology (card file and microfiche, say hello to the Internet). I knew this. It is a very different library from the one I spent my days in, so it peeved me to face an exterior that was unchanged. I didn't want to feel nostalgic toward this building. I wanted to see progress — add content, open up the space a bit, make it more inviting to the public. I wanted to face an aesthetic smirk, something that in effect said, “We've moved on, you geezer. What about you?” But I was facing a smirk of a different order.
The nearly immaculate preservation of an old library strikes me as a strange thing for me to get tetchy about, but there it is. Coincidentally, I've been playing a bit with my own appearance. When I finally recovered enough from my pneumonia to walk around town and visit with people, I received numerous compliments about how young I was looking. Losing 15 pounds will do that, but I'd also let my hair grow: my traditional buzz-cut was shaggy and some of my curl was back. At first, when told I looked “10 years younger,” I was tempted to reach for the clippers and combs, following a cussed impulse to look my age, dammit. I asked my wife for some insight, and she agreed that I didn't look as gray with longer hair, but more to the point, I also didn't look as severe (or probably grumpy, mopey and obsessed with mid-lifey things) as I do with a buzz.
The barber's chair still beckons, and I'm still tempted — especially when some photos look suspiciously like a guy who's trying to camouflage his receding hairline (one of my grandfathers had a notorious comb-over). But I've got enough hair to play with, so why not play? It's not about “looking younger,” it's about exploring possibilities and potential that in fact are there.
Next: a few Winnipeg photos.
Friday, August 24, 2007
RATATOUILLE
A rat with baby-blue fur scampers from the sewer to the shadows and crevices of Paris, France, and the camera follows him from behind. Once inside the walls of Parisian row housing, the rat sprints from house to house, room to room. He is on a quest for food, and we are seeing not just the exotic details of his world (the interior of these walls is surprisingly charming, for all its squalor), but telling details of the human world, too. Most of the latter are shop-worn caricatures of the French, but in Ratatouille they get a laugh because the perspective is fresh and unexpected.
Suddenly the rat stops, the camera sweeps over his shoulder and takes in everything he sees. He has arrived at the kitchen of a once-famous restaurant. It is immediately apparent that this rat is becoming aware of his deepest aspirations. He wants desperately to leave the Rat World and join The Real World. And so, alas, does this movie.
A city, a kitchen, a cook from humble origins who wants to be a star. The previously unseen is abandoned for the familiar. The viewer's heart sinks.
And just how is a movie-lovin' guy supposed to approach a Pixar product? This is the group of people responsible for some of the most spectacular and emotionally resonant American films of the last two decades. Monsters, Inc. is dazzlingly unique and one of my top-ten cinematic faves. Toy Story 1 & 2 were arguably the best original and sequel to hit the silver screens since The Godfather 1 & 2. To watch a Pixar film was to enter a vigorously imagined Other world, populated by recognizably Real people. So the last two Pixar productions fell considerably short of this standard — is that such a crime? They're still more compelling entertainment than, say, Happily N'ever After.
Admitting to viewer dissatisfaction with a Pixar film feels akin to treason — particularly after Ratatouille closes with a formerly-villainous critic lecturing his audience about what a bunch of self-satisfied parasites critics are (lazily feeding like vampires off the lifeblood of artistry, and all that). But here, too, I chafe. This is the second film written and directed by Brad Bird that trumpets the glories of exceptionalism, and while the A Star Is Born narrative has its appeal, it only needs to be repeated once before it wears out its welcome. If you're exceptional, you don't tell — you do.
Cars and Ratatouille both conclude with morals that sound a lot like corporate mission statements: character is more important than victory, and everyone could stand to work at being receptive to the exceptional coming from unexpected sources. Those are fine sentiments for an entertainment giant to ascribe to. I expect John Lasseter and Brad Bird really, truly believe in them. I'm also hoping Pixar takes them seriously enough to once again deliver the truly exceptional.
Post-script: here are some snarky thoughts I had after encountering some post-The Incredibles chatter. In hindsight I think I made a mountain out of a molehill — "too ordinary" "not ordinary enough." Looks like I have trouble making up my own mind. The Incredibles "twas" indeed a good movie: I enjoyed the Bond-villain lair, the camper/rocket-ride back to the city, the discovery of Jack-Jack's abilities. But I still think my response was in tune with what I was reading.
Suddenly the rat stops, the camera sweeps over his shoulder and takes in everything he sees. He has arrived at the kitchen of a once-famous restaurant. It is immediately apparent that this rat is becoming aware of his deepest aspirations. He wants desperately to leave the Rat World and join The Real World. And so, alas, does this movie.
A city, a kitchen, a cook from humble origins who wants to be a star. The previously unseen is abandoned for the familiar. The viewer's heart sinks.
And just how is a movie-lovin' guy supposed to approach a Pixar product? This is the group of people responsible for some of the most spectacular and emotionally resonant American films of the last two decades. Monsters, Inc. is dazzlingly unique and one of my top-ten cinematic faves. Toy Story 1 & 2 were arguably the best original and sequel to hit the silver screens since The Godfather 1 & 2. To watch a Pixar film was to enter a vigorously imagined Other world, populated by recognizably Real people. So the last two Pixar productions fell considerably short of this standard — is that such a crime? They're still more compelling entertainment than, say, Happily N'ever After.
Admitting to viewer dissatisfaction with a Pixar film feels akin to treason — particularly after Ratatouille closes with a formerly-villainous critic lecturing his audience about what a bunch of self-satisfied parasites critics are (lazily feeding like vampires off the lifeblood of artistry, and all that). But here, too, I chafe. This is the second film written and directed by Brad Bird that trumpets the glories of exceptionalism, and while the A Star Is Born narrative has its appeal, it only needs to be repeated once before it wears out its welcome. If you're exceptional, you don't tell — you do.
Cars and Ratatouille both conclude with morals that sound a lot like corporate mission statements: character is more important than victory, and everyone could stand to work at being receptive to the exceptional coming from unexpected sources. Those are fine sentiments for an entertainment giant to ascribe to. I expect John Lasseter and Brad Bird really, truly believe in them. I'm also hoping Pixar takes them seriously enough to once again deliver the truly exceptional.
Post-script: here are some snarky thoughts I had after encountering some post-The Incredibles chatter. In hindsight I think I made a mountain out of a molehill — "too ordinary" "not ordinary enough." Looks like I have trouble making up my own mind. The Incredibles "twas" indeed a good movie: I enjoyed the Bond-villain lair, the camper/rocket-ride back to the city, the discovery of Jack-Jack's abilities. But I still think my response was in tune with what I was reading.
Wednesday, August 22, 2007
Signs of Life (elsewhere)
The voyage has concluded, and I'll be posting some thoughts and pictures in the next few days. While I collect and sort through all that, here are a few items that caught my eye:
Um ... fact checker? So many differing versions of what Kerouac did to get his unique style on the page. Most accounts say he was a speed freak and a drunk, who finally succumbed to being just plain drunk. Seems to me at least one girlfriend claimed to lay out his benzadrine-sweaty T-shirts on the apartment radiator while Jack typed out On The Road on his infamous scroll. But David Gates says not so: Jack simply drank a lot of coffee.
The bookstores explored on Maude Newton make me wish I'd taken my little camera into some of the shops I visited in Winnipeg. Even McNally Robinson (dubbed "McSurly Robbersons" by my wife) is feted. Mind you, we've yet to see the NYC store.
Original content coming soon.
Um ... fact checker? So many differing versions of what Kerouac did to get his unique style on the page. Most accounts say he was a speed freak and a drunk, who finally succumbed to being just plain drunk. Seems to me at least one girlfriend claimed to lay out his benzadrine-sweaty T-shirts on the apartment radiator while Jack typed out On The Road on his infamous scroll. But David Gates says not so: Jack simply drank a lot of coffee.
The bookstores explored on Maude Newton make me wish I'd taken my little camera into some of the shops I visited in Winnipeg. Even McNally Robinson (dubbed "McSurly Robbersons" by my wife) is feted. Mind you, we've yet to see the NYC store.
Original content coming soon.
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