Posts Tagged ‘Stephen King’

Blackpaint 494 – House of Leaves, Murder in Moscow and Eric in Dulwich

May 10, 2015

Down Dog

Down Dog

I’m deeply traumatised by the election result and the prospect of 56 SNP-ers coming to take all our English money away and leave us defenceless against Russia et al, so tonight’s blog will be short and hurriedly written (no change there then, I’m tempted to write – but I won’t because I’m trying to avoid cliche).

House of Leaves, Mark Danielewsky

Now a hundred or so pages into this experimental horror(?) novel, with several hundred more to go – but since many of these pages are blank or nearly so, might just make it.  The experimentation, so far at least, consists of a labyrinthine structure of textual references, many obviously fictional, some probably real authors but fictional works, some probably the other way round.  There are “windows” of text which is reversed on the obverse page, as if the paper were transparent; some of the refs continue over numerous pages and are printed upside down.

At the core of this playfulness are two continuous narratives, one an intermittent commentary on the other, which can be read in a conventional way – so the “experimentation” forms a sort of packaging for the story and as such, can be more or less ignored – you still get the gist.  One of the narratives is rather flat and impersonal in tone, an “objective” report of events; the commentary is slangy, wild, peppered with expletives and full of graphic sexual and chemical encounters, real or imagined.  It reads a bit like the Stephen King of The Dark Half.

So, an experimental novel, rather like most of BS Johnson; odd- looking textual things going on, little jokes and metaphors dancing around – but a solid central narrative core provided by identifiable narrative voices (so far).

NOT Finnegans Wake, then; Joyce’s dream language retains the power to subvert, corrupt, or, at least, to flavour anything else you choose to read after putting Finnegan down.

Ravilious at Dulwich Picture Gallery

Went round this in half an hour, as the gallery was about to close; the pictures – and there are plenty of them – have a delicate beauty and cleanliness, but can be rather bloodless in bulk.  The best ones. I think, are those where he has used darker hues, obviously night ones like that below.  His other weakness, to my mind, is the human figure; his people tend to be stiff and cartoon-ish.  Great illustrator though, reminiscent of Paul Nash and maybe Ben and Winifred Nicolson.

ravilious

Force Majeure, Ruben Ostlund

A funny film, looking at the aftermath of an avalanche threatening (apparently) diners at a ski resort restaurant; how one’s behaviour stands up to examination when the danger has passed.  As is the convention, male behaviour is unheroic, selfish, foolhardy, self-justifying, self-obsessed, vain, pathetic and consequently very funny.  The women tend to be relaxed, responsible, caring, t0lerantly amused – perhaps stressed by the demands and insecurities of the men, but basically proper people.  The Scandinavian norm.

There is a terrifying sequence in which an incompetent (male) coach driver attempts to get his laden vehicle round hairpin bends above a chasm – couldn’t watch it.

force majeure

This is Moscow Speaking, Yuli Daniel

I first read this in 1970 at university and just re-read it; it’s fantastic – tough, poetic, fearless.  It’s 1960 in Moscow – the authorities announce August 10th to be Public Murder Day.  All citizens over 16 can kill who they choose, certain categories (police, prison officers) excepted…

It got Daniel 5 years in prison, along with Andrei Sinyavsky.  Alexander Ginzberg also got 5 years for protesting at the imprisonment – and eventually, Daniel’s wife got 4 years for opposing the invasion of Czechoslovakia.

Tate Modern, Painting After Technology

club foot

Club Foot, Amy Sillman

Great “new” works on display at Tate Modern, notably by Amy Sillman, Albert Oelhen, Christopher Wool and Mark Bradford.  And a most wonderful huge Sam Francis; see it through the arch, it looks much better from a distance.

And nearby, in the Geometric bit, two great Pasmores and a black-based, coloured Mary Martin sculpture.

 

port jackson

 Blackpaint

10.05.15

Advertisements

Blackpaint 418 – Whiteley, Schendel, Shining and Drowning

October 24, 2013

Brett Whiteley

I’d hardly heard of the above Australian artist until I saw “Art of Australia” this week.  What a brilliant painter he was  (died of an overdose in 1993); earlier stuff looked like Diebenkorn a bit – later, shades of Roger Hilton, Bacon and, I think, Scarfe and/or Steadman.  He mixed abstract, figurative, letters, techniques in a manner reminiscent of Albert Oelhen (but before Oelhen?).  Fantastic.

brett whiteley

Mark Bradford and Larry Bell at the White Cube Bermondsey

Bradford does huge canvases – I estimate the largest are 20ft * 18ft (dimensions not given and attendant didn’t know).  He plasters them with paper, paints it and then rips and shreds it down with a power sander.   The results resemble road systems and landscapes – one is like a coastline, another a tsunami investing a coastal city, another, Turner’s “storm at Harbour Mouth” (the sander swirls on black are like the rings on the cross section of a felled tree).  Some are bright – blue, pink, orange, white – reminding one of Peter Doig’s early paintings; others, dark and oppressive, like Anselm Kiefer’s work.

There are two beautiful Larry Bell pictures; they are like crumpled tinfoil and celluloid film, printed onto white canvas.  there are many more, but for my money, they are spoilt by being on black canvas and in black frames.

Blue Jasmine

Saw this Woody Allen film this week – it’s Streetcar, set in San Francisco rather than New Orleans.  Cate Blanchett does a great job of playing a neurotic, pampered, addicted, desperate woman, once rich, now broke, dumping herself on her despised working-class sister.  Script is great, but you never for a second forget you are watching acting; it’s naturalistic, rather than natural.  I can’t help comparing it to the fabulous Joanna Hogg films, Archipelago and Unrelated, that I’ve written about – in which, most of the time, no-one, pro or amateur, appears to be acting at all.

Reading Sebastian Faulks’ A Possible Life, which begins with a WW2 training exercise; officers lead their men mistakenly into flooded area and a soldier is drowned.  Strangely similar stories from two sources; Pete Seeger’s song “Waist Deep in the Big Muddy” (I have it by Dick Gaughan on his “Sail On” album) and a Scott Fitzgerald story I read recently – can’t find it at the moment, he wrote so many stories.  The SF version is the earliest – I wonder if it’s the original.

The Shining

Watched it yet again the other night; like Goodfellas and Casino, you only have to see a few seconds and you are hooked – these films are Ancient Mariners.  I can’t understand why Stephen King hates the Kubrick film – it’s obviously a work of art, unlike most attempts at filming King books.  Kubrick changed it a bit – killed off the Scatman and left the Overlook standing, whereas King blew its boilers and burned it down.  I think Kubrick’s ending was better.  Pity about the Scatman, though.

Klee at Tate Modern

Went round this exhibition again, and, yes, I was rather snotty about it last time.  Room 13 is great, with the ones that are composed of dots and look like little tapestries – also the blue one, “path into the Blue” I think it’s called.  There’s also the miniature opera stage set that reminded me of Picasso’s “Night Fishing at Antibes” – but much smaller.

Mira Schendel

Great antidote to Klee – Brazilian minimalist, recalling Lygia Pape and Oiticica a little; wobbly square…  Triangles, bi-and trisected canvases; then, rough paint drawings and collages of bottles on bars, drips and splatters; some brilliant black ink on off-white paper, strong lines and jagged scribbles.  Then letters appearing and playing with typefaces; hanging tablets of rice paper; Eva Hesse-like tubes of gold-ochre, suspended from ceiling; silky, white nylon threads hanging in masses and curling up like hairs at the floor; a series of rough, eye-catching tablets on walls with bible quotations – she was a struggling Catholic, apparently.

schendel1

schendel2

Also visited “Art Under Attack” at Tate Britain; save that for next time.

??????????

Work in Progress

Blackpaint

24.10.13