The New Yorker 's online Book Bench has an entertaining
approach to Jack's "All work and no play…" in "The Shining."
For some background, see this morning's previous Log24
post, The Thing Itself.
That post gives some background for the
Midnight in the Garden post of September 6th.
Also on September 6th… See Jill.
From the Feast of St. Nicholas, 2022 —
"Does the phrase 'vinegar and brown paper'
mean anything to you?"
See also other posts tagged Up the Hill.
A search for "IMA" yields, at ima.org.au . . .
"Since 1975, the Institute of Modern Art (IMA) has been Queensland’s
leading independent forum for art and its discourses." … And …
"Clog, therefore, purple Jack and crimson Jill."
— Wallace Stevens
"Clog, therefore, purple Jack and crimson Jill." — Wallace Stevens
|
"A 1991 PBS documentary called Dancing Outlaw introduced the world to the life and times of gas-huffing, vengeance-seeking, tap-dancin’ Jesco White. White Lightnin’ , which premiered recently at Sundance, is British director Dominic Murphy’s reportedly more surreal take on this fabled Appalachian anti-hero. While not locked in reform school, work camps, or the psych ward, the young Jesco White learned his special breed of clog dancing from his father, who was eventually killed in a random act of hillbilly violence. In White Lightnin' Jesco picks up his daddy’s tap shoes and hits the road, where he comes to grips with the art, addiction, and madness that have plagued his violent life story. And somewhere along the way he meets his wife, played by none other than Carrie Fisher. While David D’Arcy speaks almost fondly of White Lightnin' s redneck-exploitation (he was probably stretching for other ways to describe this “hillbilly slasher saga”), Dennis Harvey was less enchanted by the film’s 'pretentious glimpse of hillbilly hell.' Most early reviews are apprehensive about the film’s distribution chances unless its grotesque lyricism finds a niche market. But I can't imagine this, being the first film written by the co-founders of Vice Magazine , not generating more distribution steam in the near future. If anyone knows how to generate buzz it is those guys." — MLeary review, January 28, 2009, 12:58 AM |
Scene I:
"Pinter's particular usage of reverse chronology
in structuring the plot is innovative…."
— Wikipedia on the play "Betrayal," a version of which
opens tonight
Scene II:
Reverse Chronology in Wikipedia —
"As a hypothetical example, if the fairy tale Jack and the Beanstalk
was told using reverse chronology, the opening scene would depict
Jack chopping the beanstalk down and killing the giant. The next
scene would feature Jack being discovered by the giant and climbing
down the beanstalk in fear of his life. Later, we would see Jack running
into the man with the infamous magic beans, then, at the end of the film,
being sent off by his mother to sell the cow."
Scene III:
Dialogue for Scene III —
"Sell the damn cow, Jack."
Epilogue: Jack + Jill.
For Jack and Jill.
The above motivational video is from the web page of a middle school
math teacher who was shot to death yesterday morning.
Related journalism —
See also "S in a Diamond" (here, October 2013)
and "Superman Comes to the Supermarket,"
by Norman Mailer (Esquire , November 1960).
In a recent film, Amy Adams asked Superman,
"What's the S stand for?"
One possible answer, in light of Stephen King's
recent sequel to The Shining and of
the motivational video above—
Steam.
Suggested by this morning's previous post (Araby) as well as
by Thursday's posts Jack and Jill and The Thing Itself …
an item from Google News—
Note the beauty of the headline's meter.
A midrash for Bloomberg—
"Let us return to the insertions." —André Topia, "The Matrix and the Echo."
From Tuesday at the Stephen King Kindergarten —
"They had sung that song all together at the Jack and Jill Nursery School…."
— Stephen King, The Shining
A link introducing Tuesday's kindergarten —
Images from Fare Thee Well —
|
Shakespearean Fool © 2004 Natasha Wescoat |
Dear God, I am not a son of a bitch. Please.
— Jack Torrance in The Shining
* For Agathe von Trapp
Continued from yesterday's Church Diamond and from Dec. 17's Fare Thee Well —
|
The San Francisco Examiner last year
on New Year's Eve — Entertainment
Discover the modern art of Amish quilts By: Leslie Katz 12/31/09 1:00 AM Arts editor
Quilts made by Amish women in Pennsylvania, Household handicrafts and heirlooms made by American women seen as precursors to modern art is one underlying thesis of “Amish Abstractions: Quilts from the Collection of Faith and Stephen Brown,” a provocative exhibit on view at the de Young Museum through June. Curated by Jill D’Alessandro of the Fine Arts Museums of San Francisco, the show features about 50 full-size and crib quilts made between 1880 and 1940 in Pennsylvania and the Midwest during what experts consider the apex of Amish quilt-making production. Faith and Stephen Brown, Bay Area residents who began collecting quilts in the 1970s after seeing one in a shop window in Chicago and being bowled over by its bold design, say their continued passion for the quilts as art is in part because they’re so reminiscent of paintings by modern masters like Mark Rothko, Josef Albers, Sol LeWitt and Ellsworth Kelly — but the fabric masterpieces came first. “A happy visual coincidence” is how the Browns and D’Alessandro define the connection, pointing to the brilliance in color theory, sophisticated palettes and complex geometry that characterize both the quilts and paintings. “There’s an insane symmetry to these quilts,” says D’Alessandro…. Read more at the San Francisco Examiner . |
The festive nature of the date of the above item, New Year's Eve, suggests Stephen King's
All work and no play makes Jack a dull boy.
and also a (mis)quotation from a photographer's weblog—
"Art, being bartender, is never drunk."
— Quotation from Peter Viereck misattributed to Randall Jarrell in
Art as Bartender and the Golden Gate.
By a different photographer —
See also…
We may imagine the bartender above played by Louis Sullivan.
"Contemporary literary theory did not emerge in an intellectual and cultural vacuum. The subordination of art to argument and ideas has been a long time in the works. In The Painted Word, a rumination on the state of American painting in the 1970s, Tom Wolfe described an epiphany he had one Sunday morning while reading an article in the New York Times on an exhibit at Yale University. To appreciate contemporary art– the paintings of Jackson Pollock and still more so his followers– which to the naked eye appeared indistinguishable from kindergarten splatterings and which provided little immediate pleasure or illumination, it was 'crucial,' Wolfe realized, to have a 'persuasive theory,' a prefabricated conceptual lens to make sense of the work and bring into focus the artist's point. From there it was just a short step to the belief that the critic who supplies the theories is the equal, if not the superior, of the artist who creates the painting."
— Peter Berkowitz, "Literature in Theory"
Cover art by Rea Irvin
On this date in 1925,
The New Yorker
first appeared.
Related material:
Aldous Huxley on
The Perennial Philosophy
(ART WARS, March 13, 2003)
and William James on religion:
For an experience that is
perhaps more effable,
see the oeuvre of
Jill St. John.
Related material:
A drama for Mardi Gras,
The Crimson Passion,
and (postscript of 2:56 PM)
today's Harvard Crimson
(pdf, 843k)
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