Land Needs a Deed not Deeds in Mudbound

Indeed, you might need a deed to own land, but it’s all those horrible deeds that lead to systematic oppression that tie the tortured souls of Mudbound to the land.  Even in the afterlife they can’t escape the land, which swallows their flesh and churns up their bones, the indentured survivors plopping their dead loved ones’ bodies right into the ground, rendering all their deeds and deeds undone.

While still stewing over the fact his vile racist Pappy (Jonathan Banks) sold the only land the family ever had, Henry (Jason Clark) is so damned obsessed with the idea of owning land and working it that he uproots his wife Laura (Carey Mulligan, ever graceful in her depiction of a woman’s arc from blissful naivety to pessimistic pining) and young daughters to go live on a godforsaken plot of harsh farmland in Mississippi.  There the work and hardships are shared with an African-American family led by the spirited Hap Jackson (Rob Morgan) and his stoic wife Florence (Mary J. Blige) who have been toiling the land in quiet dignity for generations, first as slaves, and now as sharecroppers.

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Matterlightblooming and Lincoln in the Bardo

Lincoln in the Bardo

In an ancient cemetery on a hill near Washington D. C. the dead-who-know-not-they-are-dead rise from their sick boxes at night to cavort, cajole, console and wonder, wander, ponder. They have developed their own culture, their own shadowy cadence of “living” in this self-inflicted purgatory, patiently waiting for some sign to know what to do next, while fellow spirits vanish in the matterlightblooming and others join them in fresh sick boxes, an eternally spiraling phantom world of temporary inhabits…ships passing in a melancholic feverishly nightmarish harbor where the waters are haunted by memories of thier life in that other place from before they so long for…

One such spirit is left dispirited by another (who committed suicide)…exclaiming…

“You did not give this place a proper chance, but fled it recklessly, leaving behind forever the beautiful things of this world…Forgoing eternally, sir, such things as, for example: two fresh-shorn lambs bleat in a new-mown field; four parallel blind-cast linear shadows creep across a sleeping tabby’s midday flank; down a bleached-slate roof and into a patch of wilting heather bounce nine gust-loosened acorns; up past a shaving fellow wafts the smell of a warming griddle (and early morning pot-clangs and kitchen-girl chatter); in a nearby harbor a mansion-sized schooner tilts to port, sent so by a flag-rippling, chime-inciting breeze that causes, in a port-side schoolyard, a chorus of childish squeals and the mad barking of what sounds like -” (p. 140-141)

Apparently in George Saunders’ purgatorious bardo, every ghost is a poet…and a grammarian champion of the semi-colon. Saunders’ ghosts go through the metaphysical motions, getting bawdy like Shakespeare in their regaling of tales and nihilistic like Beckett’s Godot waiters…waiting, for something…someone…to rock their boats. Continue reading

Is Less More in Ron Rash’s Above the Waterfall?

Above the Waterfall by Ron Rash

In Above the Waterfall, Les is a sheriff on the eve of retirement just trying to keep the peace…find some peace…in his small North Carolina mountain town. Becky is an environmentalist with the streak of a poet working as a park ranger and taking refuge in the natural beauty of her environs. While high-end resorts push natives (both human and animal) to the fringes, meth poisons the town’s less hardy residents. Ron Rash, while ever vivid in his descriptions of his Appalachian universe, attempts to go poetic minimalist here, alternating POV’s between Les’ fact-based fatalism and Becky’s yearning artistry. This attempt to balance timely sociopolitical commentary (meth came after the 2008 crash) with a timeless aestheticism (one wonders if Rash is working on an Appalachian Poetry side project) threads thin…the polar opposite of the epic gothic complexity of Serena.

Unlike the meth, much of the novel feels undercooked, as if it began as a short story that Rash later fleshed out, and those who enjoy his modern short stories will connect to this more than those who lean towards his period-piece and cross-generational novels (such as Serena, The Cove or his earlier One Foot in Eden). I fall into the latter group, and thus had mixed feelings for this effort, especially as it devolved into a not-so-compelling and seemingly manufactured “who-dun-it” concerning the poisoning of trout.

There were, of course, as is always the case with Rash, moments of genius that leave indelible marks.   Continue reading

Well, He’s No Solomon…in Love & Friendship

Love & Friendship

Mild-mannered, well-groomed, high-stakes, period-piece social satire reigns supreme in Whit Stillman’s sharp film adaptation of a “lost” and incomplete Jane Austen novella.  Austen simply titled it after her conniving, widowed but still lively anti-heroine Lady Susan (played with perfectly vivacious high-brow snark by Kate Beckinsale), but Stillman plays on Austen’s “Blank & Blank” template and renames it Love & Friendship.  The title itself a rouse, much like the import of debutante season in Stillman’s Metropolitan.

As in the most superior of Austen or Stillman works, high society types are on display in all of their entertaining mannerisms and foibles.  The two authors separated by centuries seem a perfect marriage, as humor both scathing and dry, bites and blows across the posh manners, country estates and London townhouses where Susan plots to find both her and her daughter (Morfydd Clark) rich husbands to secure their futures.  Never do the characters seem aware of their preposterousness, as if all of life is a parlor game, and their scruples (or lack thereof) never are challenged even as gossip and innuendos challenge their lot and plot. Continue reading

Justin Kurzel’s Macbeth is Everything that is Wrong with Modern Shakespeare Adaptations

Macbeth

In an unnamed tented wilderness (seriously, you could’ve convinced me these people were living in Mongolian yurts) some psycho (Michael Fassbender – all grit and style, no substance) starts killing people to become king while his libidinous, depressed wife (Marion Cotillard – wasted) pines for their beautiful Guns-N-Roses music-video-style-photographed dead child (buried…or burned…in the opening scene).  Eventually the action moves to some moodily lit chapels and castles where I finally realized the growling and whispering actors were speaking with Scottish accents (except Marion Cottilard – who spoke with….a….what the eff accent?)

Macbeth is allegedly an adaptation of my favorite Shakespeare play and I had no idea what was going on most of the time.  Kurzel’s adaptation (which incidentally has some 1980’s big-hair metal band meets Game of Thrones style cinematography from the otherwise talented Adam Arkapaw that could fool someone into thinking they are watching something dreadfully artsy) is completely incompetent.  For the most part, the film is slavish to Shakespeare’s language (when it’s not cutting key lines), which seems like a good idea (umm, considering Shakespeare’s dialogue is like the best dialogue ever written in the English language) except for the fact it is spoken by otherwise award-caliber thespians with absolutely no sense of feeling or nuance or wit or…well…anything. Continue reading

France, Je T’aime – Part Three: Le Paris Macabre

Paris Catacombs 13

Ou est elle la mort toujours future ou passée Apeine est elle presente que deja elle n’est plus – one of the many thought provoking and haunting quotes found deep in Les Catacombes.

One of the most romantic things about Paris is that it will make of anything art – even death.  The underground Catacombs (possibly the most creative urban space repurposing in history – former quarry caves turned into a massive human remains dump/art installation project) are unlike anything you’ve ever seen and boast millions of lost stories and souls (over six million to be kinda exact – in skeleton form and stacked and designed like hell’s Legos!) while the cemeteries still above ground revel in their gorgeous, macabre monumental splendor.

What else is there to say?  Let the ghosts behind the photos whisper their secrets and history to you.

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France, Je T’aime – Part Two: Paris – Musees et Monuments

Paris Gustave Moreau 30

Paris was a museum displaying exactly itself. – Jeffrey Eugenidies

Is there a city with more museums and monuments per square-foot than Paris?

I don’t know, but if you find yourself in Paris, you can’t help but stumble into a museum or monument (both historical and religious) while walking her beautiful streets, and the super-savvy Museum Pass will help you stumble into as many as possible in as little time for as few Euros as possible (just be sure to make time for a leisurely lunch with some wine at a street café/brasserie in between).

As Eugenidies states, the entire city is a museum.  And as lovers of art, my fiancée and I couldn’t help but devour as much of Paris as we could.

I won’t ramble about the obvious (the Louvre, the D’orsay, Notre Dame, the Eiffel Tower, etc…) where pictures have always spoken for themselves but I will gush about a fabulous “off the beaten track” museum dedicated to a single artist who I will now claim as one of my favorites.  The intimate and astounding Gustave Moreau Museum at 14 Rue de la Rochefoucauld in a quiet residential neighborhood, housed in the beautiful townhouse he and his mother once called home, is possibly the best example of an artist’s home/studio turned into a museum.  As you ponder his personal artifacts and fascinating works, its impossible not to be swept up into his vision.  But I’ll let the pictures do most of the talking here as well.

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France, Je T’aime – Part One: Paris – Rues et Jardins

Paris Montparnasse Tower View 02

A walk about Paris will provide lessons in history, beauty, and in the point of Life. – Thomas Jefferson

Paris is a moveable feast – Ernest Hemingway

I don’t believe I could’ve picked a more perfect period in my life to experience Paris for the first time after having experienced other European capitals (the infinitely more laid-back Amsterdam and Dublin) to ease me into the overwhelming moveable feast that is Paris.  It helped that my fiancée had been to Paris twice before, as while together we came to it with the wide-eyes of outsiders (it’s easy to see why so many ex-pats holed up in Paris for a spell have written some of the kindest words about the city of lights), her tourist knowledge kept us from going mad while wandering the streets and the metro.  Paris is best experienced by walking, and this first post in an epic five piece series capturing our French adventure through pictures will focus on the maddeningly beautiful, confusing streets and the resplendent parks and gardens of Paris the burst with life, secrets and the profound.

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Sending a Scout to the Dark Tower in Go Set a Watchman

Go Set a Watchman Book Cover

Ever wonder what happened to Jean Louise Finch aka Scout when she grew up?  Well wonder no more.  It’s rare to witness a literary phenomenon, but Harper Lee’s long wondered about sequel to her iconic classic, To Kill a Mockingbird, is one such “once in a life-time” event.  In Go Set a Watchman, Scout is a young woman living in New York who comes home to the fictional Maycomb County, Alabama and witnesses nothing short of the shattering of her idol and father, Atticus Finch, when she catches him, along with her wanna-be fiancé, Henry, at an unseemly town hall meeting full of racist rhetoric.

“Oh dear me, yes. The novel must tell a story.” – page 188

By now the story behind the story has almost over-taken the novel.  Originally written before To Kill a Mockingbird, but returned to Lee by the publisher requesting she flesh out the childhood flashbacks of her protagonist and make something of that instead, Go Set a Watchman is both a prequel and a sequel (or a prequel sequel if you will).  When you read those flashback scenes, it’s easy to see why the publisher was more tickled by those, and perhaps the tone of the rest of the novel was too volatile at the time.  Lee has quite the gift for gab, and in her dialogue, which is both colorful and occasionally pedantic (Scout’s voice is clearly a vehicle for some impassioned politic views) she has crafted a book that is almost all talk.  Her dialogue perfectly captures place, time and feelings…it’s as if she has transported us back to the Deep South in the 1950’s at the dawn of the Civil Rights Movement that would define a generation (a nifty almost post-modern trick as when she wrote this – this was now). Continue reading

God Help the Reader in Toni Morrison’s New Novel

Toni Morrison God Help the Child Cover

It’s a strange, disturbing thing to read a contemporary Toni Morrison novel – a woman who has been at home for decades exorcising the demons of our collective American past.  Yet even in the present day, her characters are hung up on ghosts.  God Help the Child is a story, like all Morrisonian tales, woven in different voices, all tied to the cycle of abuse that starts in childhood and seems to never end.  There’s Sweetness, a mother who finds it impossible to love her too-dark child, Lula Ann.  There’s Bride, the reborn adult version of Lula-Ann, wielding her beauty like a scythe across the scorched western landscape.  There’s Booker, a man who refuses to let go of his dead brother who was brutally murdered when they were just boys.

At times, the abuse is overwhelming.  No one in this Morrison novel is left untouched.  It almost verges on melodramatic parody as each dark secret is revealed.  In some ways the novel comes across as a bourgeois version of Precious, where instead of an inner city girl, we have a fashionista – both surrounded by horrors that know no bounds.  Oprah and Lee Daniels must be drooling over this.

But Morrison refuses to let the reader get away that easily.  The novel can not be dismissed as artsy, exploitative trash.  The book is as insular, intimate and twisted as her A Mercy was expansive, remote and mangled (in oh so many beautiful ways).  Her handling of the surreal adds an otherworldly gravity to an otherwise modern tract.  Continue reading