Wednesday, November 4, 2009

Outsiders


OUT Magazine has just published this anthology of essays they've printed over the years, including a profile of Provincetown by yours truly. The cover makes me think of the discussion of the commercial uses of Walt Whitman's work below -- here are some boys together clinging. Well, actually they look like they have just finished clinging, and both do and no not want you to know about it. Do they know whom they souse with spray?

Monday, November 2, 2009

Morning on Sunset Boulvevard, night near the airport...


I've mostly been enjoying the diurnal pleasures of L.A. -- the dry sunwashed greenery of Sunset Blvd to the west of the 405, just beneath the Getty. A benefit for the industrious and excellent Red Hen Press, which celebrated their fifteenth anniversary yesterday at a glittery afternoon reading/lunch/champagne reception, with a room full of wonderful writers; Jamaica Kincaid, Wanda Coleman, Alicia Ostriker, Chris Abani. Today I'm off to read at Claremont College with Alicia and with the charming and very witty Matthea Harvey -- pleasure all around, and Los Angeles is co-operating with suprisingly clear skies, so that all the details of the mountains are visible. Not the way I'm used to seeing this place. And during a Northeastern November, southern California is fantastically inviting.

Daylight beauty aside, I'm posting a noirish photo, an iconic donut stand near LAX. I like how crushingly enormous that vast pastry is.

Wednesday, October 28, 2009

Salvatore Scibona's THE END

I'm en route to Ashland, Oregon, and it's been a pretty hellacious travel day: a missed flight, serious turbulence, a "wind shear warning," and four hours of sitting around in LAX. The one good thing I can say about today is that I finished the novel I've been reading, THE END, by Salvatore Scibona, which was a National Book Award Finalist last year. Just at the moment any sort of architecture of praise I might attempt to build for it feels inadequate -- the book has that sort of largeness of spirit about it, as well as a remarkable sense of cadence, as well as portraits of people so ferociously drawn they feel indelible. I thought I'd just quote one paragraph here, rather more discursive than most of the book, but a passage which reveals an intimate sense of the space of childhood and the scale of memory.

"Night, for children, was more a place than a time. For a child, to wake in the night and race downstairs toward the bed of parents was to plunge into a forest from which he might never emerge. A man could never hope to fully feel again the deep night in childhood; he could at best recall the fact of it faintly. For a man of his age, nothing could be as vast as the nighttime of childhood except the extension of thought toward his distant past, where flickered, flickered, and evanesced -- My brother and I were on our knees picking the favas when a snake shot up and bit my chin; my father held me under my arms and dangled me over a well -- and the distinctness and the isolation of the flickers, the utter obscurity of what must have happened before and after, imparted to the imagined world in which they had to have taken place dimensions infinitely wider than those of the world in which he now found himself recollecting them."

Walt Whitman for Levis (2)

A while ago I did a post here about the new Levis campaign that makes use of Whitman, sometimes directly and sometimes in spirit, to promote blue jeans. Denim, with its democratic character and iconic associations with America, would be just fine with Whitman, who'd doubtless be wearing Carhartt were he walking the streets of Brooklyn today. A thoughtful reader, though, sent me a link to this commentary on the campaign from another blogger, and it's certainly worth a look. This link also includes a TV spot where you hear in the background the Edison wax cylinder recording of a voice that's probably Whitman reading a bit of verse. I don't agree that this is the most offensive commercial ever produced -- actually I think it's pretty beautiful, taken sheerly as a piece of videography on American themes -- but Webster's points about the folks who bring you Levis are crucial ones. I personally reserve that "most offensive ad" tag for those oil company commercials that show you a shining natural world, or suggest that big energy companies are out to make the planet a marvelous, clean and safe place.

Anyway, the contradictions inherent in the Levis ad (America is noble and cracked, jeans belong to everyone but somebody very rich owns the company, work clothing is the language of the people but you look really hot and sexy in them) all seem present for Whitman, too. How can he be a booster for development and forest-clearing (see "Song of the Broad-Axe") and talk about the nobility of Native Americans"? How can he be at once a spiritual visionary and a tireless self-promoter? How be a sexual radical and an avuncular sage? Do I contradict myself, very well then...

Sunday, October 18, 2009

Madea's Family Reunion

Yesterday I saw my first Tyler Perry movie, and took great pleasure in this completely whacked-out hybrid of a thing. Madea's Family Reunion ends with a wedding in which a Christian couple is united while Maya Angelou reads a poem,people dressed as angels hang from the rafters, a guy who beats up women gets a pot of hot grits thrown in his face, and a black drag queen celebrates the church, Jesus, revenge, discipline and matrimony. HOW Perry manages to throw all those elements into the pot is beyond me; the wildly varying tones ought to wrench the whole thing into incoherence, but somehow it just remains so delicious. And all those mesmerizingly beautiful guys! It's as if Perry puts everything he enjoys (suffering but brave women, muscular and soulful men, righteous old church ladies, uplifting messages about the family, and drag comedy) all in one place, and therefore accomplishes an impossible reconciliation: the upright black family, with its emphasis on unity and moral uplift, is on the same stage with the camp comedy of a wild drag queen and a whole lot of sexiness. And I haven't even talked about the playful reclamation of stereotype! I'm in awe.

The only thing is, I also watched an interview with the writer/director/filmmaker/performer, and it was a little alarming to see how deeply he professes his Christianity, and how much pressure he seems to feel as a public figure.He talked about his own abusive father, which brings into focus the fact that the film both makes abuse a criminal reality (with the hot grits man) and a source of comedy (Madea is always grabbing some miscreant kid and wailing away). Like the relationship between Perry viewing the world in terms of the "saved" and the fallen while still dancing onscreen in huge false breasts and butt under a huge purple dress, this feels bizarrely incoherent. And yet he has this area of safety, in the films: a chaotic, contradictory, multitude-containing stage that I bet Shakespeare would have loved. Go figure.

Cinema re-mix


This is the marquee of the moviehouse in East Hampton on this rainy Sunday. I like how the titles run together. CAPITALISM WILD THINGS pretty accurately describes some of the local bandit citizens with their mansions fueled by Wall Street dollars, and I am sure there's more than one CHANEL INFORMANT around here, too. NEW YORK MEATBALLS are sandwiched between the other options. There seems to be an invitation here to re-edit the movies into new juxtaposed versions, in which one text would comment on the other.

Friday, October 16, 2009

My Diva

It was a total pleasure this afternoon to be part of a reading at the CUNY Graduate Center to celebrate Michael Montlack's anthology MY DIVA, a collection of essays by gay male writers about female figures who've possessed their imaginations. Wayne Koestenbaum read an essay on Anna Moffo, Michael himself a piece on Stevie Nicks, Jason Schniederman read a kind of cautionary meditation on Liza Minelli, and Richard Tayson celebrated an early infatuation with Helen Reddy (who, it turns out, is now a hypnotherapist in Australia). Alfred Corn read a poem in which Billie Holiday figured, and yours truly read a piece about Grace Paley. I'd been feeling that the diva as glamorous and glittery figure had been pretty well explored, in her role as a mirror of gay men's longings for beauty, power and authority. What about other kinds of female figures who might embody different aspects of our interiority? So I decided to see if I could tap into my inner grandmotherly upper West Side Jewish anti-nuke activist. Anyway, the reading and conversation after were welcoming and lively.

One aspect of the conversation I liked was the acknowledgement of the big range of ways in which men think about "divas" -- as "role models," as objects of curatorial interest, as obsessive touchstones, as icons of eros, as emblems of courage, or mirrors of vulnerability and shame.