Posts Tagged ‘Italo Calvino’
Calvino
Calvino in the New Yorker.
What happens on the earth when a moon dies is not easy to describe; I’ll try to do it by referring to the last instance I can remember. Following a lengthy period of evolution, the earth had more or less reached the point where we are now; in other words, it had entered the phase when cars wear out more quickly than the soles of shoes. Beings that were barely human manufactured and bought and sold things, and cities covered the continents with luminous color. These cities grew in approximately the same places as our cities do now, however different the shape of the continents was. There was even a New York that in some way resembled the New York familiar to all of you, but was much newer, or, rather, more awash with new products, new toothbrushes, a New York with its own Manhattan that stretched out dense with skyscrapers gleaming like the nylon bristles of a brand-new toothbrush.
In this world where every object was thrown away at the slightest sign of breakage or aging, at the first dent or stain, and replaced with a new and perfect substitute, there was just one false note, one shadow: the moon. It wandered through the sky naked, corroded, and gray, more and more alien to the world down here, a hangover from a way of being that was now outdated.
Ancient expressions like “full moon,” “half-moon,” “last-quarter-moon” continued to be used but were really only figures of speech: how could we call “full” a shape that was all cracks and holes and that always seemed on the point of crashing down on our heads in a shower of rubble? Not to mention when it was a waning moon! It was reduced to a kind of nibbled cheese rind, and it always disappeared before we expected it to. At each new moon, we wondered whether it would ever appear again (were we hoping that it would simply disappear?), and when it did reappear, looking more and more like a comb that had lost its teeth, we averted our eyes with a shudder.
It was a depressing sight. We went out in the crowds, our arms laden with parcels, coming and going from the big department stores that were open day and night, and while we were scanning the neon signs that climbed higher and higher up the skyscrapers and notified us constantly of new products that had been launched, we’d suddenly see it advancing, pale amid those dazzling lights, slow and sick, and we could not get it out of our heads that every new thing, each product that we had just bought, could similarly wear out, deteriorate, fade away, and we would lose our enthusiasm for running around buying things and working like crazy—a loss that was not without consequences for industry and commerce.
That was how we began to consider the problem of what to do with it, this counterproductive satellite. It did not serve any purpose; it was a useless wreck. As it lost weight, it started to incline its orbit toward the earth: it was dangerous, above and beyond anything else. And the nearer it got the more it slowed its course; we could no longer calculate its phases. Even the calendar, the rhythm of the months, had become a mere convention; the moon went forward in fits and starts, as though it were about to collapse…
I Wish I Were the Moon
I Wish I Were the Moon is a lovely microgame in the mold of I Fell in Love with the Majesty of Colors said to be inspired by the Italo Calvino story “The Distance to the Moon.” Here’s a walkthrough if you find you can’t crack the last ending. Via Backwards City of all places.
"Synecdoche, New York"
Lately I’ve shied away from reviewblogging, partly because I don’t think I’m especially good at it but mostly because I haven’t been moved to write about anything I’ve seen. Synecdoche, New York moves me, but only to say “Go see it.”
Almost certainly the best film of 2008—only Dark Knight really comes close—and Kaufman’s best film since Being John Malkovich, Synecdoche can’t really be described without being reduced to a series of gimmicks. I wouldn’t even read reviews of it. Just go.
For those who have seen it, or who plan to flaunt my sage advice, the best writing I’ve seen about Synecdoche has been from Adam Kotsko, who writes, insightfully:
While watching Synecdoche, New York this week, a thought occurred to me: the reviews that presented the movie as an elaborate puzzle requiring multiple viewings to unravel are wrong….
[T]here is, within the frame of the movie, no “underlying reality” that can be uncovered through the work of decoding, not even that of Caden Cotard’s dream. All the action is taking place directly at the surface. That’s what the proposed title “Simulacrum” is telling us (a name he suggests to Claire, not Hazel, pace Dargis).
“What really happened” is only what you can see: Kaufman is being brutally direct. No amount of plot summary can get at what it feels like to be watching this movie, and to get to caught up in trying to decipher “what’s going” on is to run the risk of failing to feel what it feels like to be watching this movie.
I’d even go so far as to suggest that Synecdoche should really only be viewed once. The novels to which one might be tempted to compare it—Ulysses? Pale Fire? If on a Winter’s Night a Traveler?—are surely not “elaborate puzzles” to be solved but do possess rich textual subtleties that reward an nth reading. Synecdoche, I fear, may not only lack these subtleties, but may in fact be significantly worse when re-viewed in the context of a known whole.
In particular I’m afraid any rewatch would just direct us more and more towards the notion that [SPOILER—HIGHLIGHT TO READ] Cotard is in the process of dying, likely from suicide committed either very early in the movie or perhaps slightly before it began, and Synecdoche is his dream. To the extent that the suggestion of any “underlying reality” can be deciphered in Synecdoche, it seems to me it can only be this one—and just the slightest taste of that is more than enough.
But wherever they point us, I feel fairly certain the uncovering of any “clues” upon rewatching would only throw the movie’s vital ambiguity off-balance. It’d ruin it. Synecdoche‘s a truly great film, that is to say, but probably just the once.
UPDATE: Copied from Facebook wall scribblings:
my fave reader review from the nyt:
This movie was really boring! Just like life! This movie thought it was original and cutting edge but wasn’t! Just like life! This movie has been made before about seven trillion billion times! Just like life! This movie was way too long! Just like life! The first half was okay but the second half made up for it! Just like life! I almost walked out of this movie! Just like life! Some people don’t realize how awful this movie is and actually think it is good! Just like life!
Late Night
Late night.
* ‘Our Phony Economy’: Why measuring GDP doesn’t tell us much of anything we need to know. In Harper’s, via MeFi.
The purpose of an economy is to meet human needs in such a way that life becomes in some respect richer and better in the process. It is not simply to produce a lot of stuff. Stuff is a means, not an end. Yet current modes of economic measurement focus almost entirely on means. For example, an automobile is productive if it produces transportation. But today we look only at the cars produced per hour worked. More cars can mean more traffic and therefore a transportation system that is less productive. The medical system is the same. The aim should be healthy people, not the sale of more medical services and drugs. Now, however, we assess the economic contribution of the medical system on the basis of treatments rather than results. Economists see nothing wrong with this. They see no problem that the medical system is expected to produce 30 to 40 percent of new jobs over the next thirty years. “We have to spend our money on something,” shrugged a Stanford economist to the New York Times. This is more insanity. Next we will be hearing about “disease-led recovery.” To stimulate the economy we will have to encourage people to be sick so that the economy can be well.
* Springfield Punx Simpsonizes celebrities and superheroes. At right: Tobias Fünke.
* Al Giordano says Tim Kaine is growing on him for VP.
The number one rule in choosing a vice presidential nominee is “first, do no harm.” If you’re a presidential nominee, you don’t want a running mate that will distract from you, commit gaffes, speak off-message, or that secretly thinks he or she is too good to be number two.
And the second rule is, “then, do some good.” You want a VP that will reinforce your messages and make voters more comfortable with you.
Kaine is so far passing both tests with flying colors.
I’m not there yet—as I’ve mentioned before, just about everything I hear about Kaine turns me off—but Al’s instincts have never steered me wrong. I guess we’ll see.
* What are the essential reads in literary fantasy? Personally I’d have to start my list with heavy-hitters from the twentieth century (and my bookshelf) like Kafka, Borges, García Márquez, and Calvino…
* Mission accomplished, corporations! Wal-Mart employee voluntarily enforces her entirely false belief that “copyright lasts forever.”
* And will Burn After Reading, the new Coen Brothers comedy, be the new greatest movie of all time? All signs point to yes:
Fifty Best Cult Books
The Telegraph has the fifty best cult books. I’m really not sure about a definition of “cult” strained enough to encompass On the Road and To Kill a Mockingbird, but aside from that it’s a pretty solid list with a surprising number of personal favorites. Calvino! Adams! Hofstadter! Vonnegut! Someone in a club tonight has stolen my ideas. (via)