Reader’s Corner: American Science Fiction in the ’60s

If you’re looking for a good book or eight to spend your shelter-in-place weeks with, the Library of America is a good place to start.

My review of their big and gutsy boxed set American Science Fiction of the 1960s — including everything from groundbreaking Samuel R. Delany space opera to proto-feminist work from Joanna Russ and even Flowers for Algernon — is available in the spring 2020 print edition of Rain Taxi Review of Books:

The driving impulse behind this anthology is not, nor should it be seen as, a greatest hits compilation. Rather, editor Gary K. Wolfe appears to be approaching it in the same sidelong manner that he used for his previous anthology of nine “classic” science fiction works from the 1950s: He is mixing in the familiar with the lesser-known, using many of the latter to stand in for whole swaths of the genre. This professorial survey-course approach necessitates plowing through some lesser material—which one might have skipped in their original paperback binding—but provides fascinating glimpses of whole styles of writing little seen now…

Writer’s Desk: Terrence McNally

The recently late Terrence McNally wrote many many plays. Some were great (Love! Valor! Compassion!) and some others were good but less than great (Ragtime, The Visit).

In any event, McNally — who passed away this past week from coronavirus-related complications — did what vanishingly few writers have ever done: Make a living on Broadway.

And he did it without making much of a fuss about the writing itself. A few years back, he provided some tips for the writing life:

What time of day do you get your best work done?
No particular time. I just turn on the computer and do the work.

What’s the first thing you do when you sit down to write?
I don’t have any rituals. I just put my fingers on the keys. It’s like second nature. I don’t think about brushing my teeth or shaving—it’s just something I do.

What’s the secret to being so prolific?
I live in a fascinating city at a fascinating time in history. When people say they have writer’s block, I say, “Go take a walk around the block! Read the paper! Open your window!” How can you have a block when there’s so much going on? I love what I do, so I don’t think of it as a job that you finish. It’s like breathing.

When you can say that you write like you breathe — and be telling the truth — it is safe to say that you are the envy of the great majority of writers who have ever drawn breath.

Screening Room: ‘Resistance’

Did you ever think you would see a movie in which General Patton introduces his battle-wearied soldiers to a performance by Marcel Marceau? Or that the world-famous mime spent much of World War II spiriting Jewish orphans out of France to safety? You get all that and more in the far-from-perfect but still satisfying new biopic Resistance, starring Jesse Eisenberg as Marceau, which will be available this Friday.

My review is at Slant Magazine:

Writer-director Jonathan Jakubowicz’s Resistance is an old-fashioned and straightforward tale of brave opposition to the Nazi occupation of France whose most potentially intriguing angle becomes its least satisfying dimension. While featuring many familiar elements, including a sarcastically reluctant hero, a mentally unbalanced sadistic villain, and nail-biter last-minute escapes, it’s centered on a character who one doesn’t often see in World War II movies: a Nazi-fighting mime…

Here’s the trailer:

Writer's Desk: Start with a Cold Shower

The Atlantic‘s James Parker wrote recently about how most of his writing days used to start:

I’d wake up, smoldering and sighing, reel out of bed and into the kitchen, and put the kettle on. Then I’d think: Well, now what? Time would go granular, like in a Jack Reacher novel, but less exciting. Five minutes at least until the kettle boils. Make a decision. Crack the laptop, read the news. Or stare murkily out the window. Unload the dishwasher? Oh dear. Is this life, this sour weight, this baggage of consciousness? What’s that smell? It’s futility, rising in fumes around me. And all this before 7 a.m…

His new approach to kicking off a day’s writing appears to be more fruitful:

I wake up, smoldering and sighing, reel out of bed and into the kitchen, and put the kettle on. And then I have a cold shower … Then you get out, and you’re different. Things have happened to your neurotransmitters that may be associated, say the scientists, with elevated mood and increased alertnessYou’re wide awake, at any rate.

This usefulness of this approach to the writing lifestyle has not been fully tested as of yet.

Screening Room: The Oscars and ‘Joker’

Really? (Warner Bros.)

In response to yesterday’s fairly uninspiring Oscar nominations, here is a piece I wrote for Eyes Wide Open about why every single other best picture nominee deserves to win more than Joker:

Yes, that includes JoJo Rabbit. Even the cringey and self-congratulatory Nazi slapstick of Taika Waititi’s quasi-Wes Anderson anachronism-riddled World War II satire — which might have worked nicely if compressed into a 5-minute short — ultimately had something to offer, even if it was simply the not-quite-groundbreaking message that Nazis are bad. Not so Joker

 

Screening Room: ‘Cunningham’

Cunningham
‘Cunningham’ (Magnolia Pictures)

The new documentary Cunningham does double duty, first telling how pioneering modern-dance choreographer Merce Cunningham built his thrilling body of work in the 1940s and ’50s, and second recreating those dances in colorful 3D.

Cunningham is playing in limited release. My review is at Slant:

Focusing on Cunningham’s works dating from 1942 to 1972, and his longtime collaborations with composer John Cage and other artists from Robert Rauschenberg to Andy Warhol, [director Alla] Kovgan balances loosely sketched biography with artistic recreation…

Screening Room: ‘The Current War’

After a tumultuous production history that involved a fight with Harvey Weinstein, a badly mangled cut premiering at Toronto two years ago, and the director wresting his work back from Weinstein and releasing the version that he wanted, The Current War hits theaters today. It’s a curiously stylized drama about the electricity innovation battle between George Westinghouse and Thomas Edison.

My review is at The Playlist:

The figures behind the AC/DC war of the 1880s and ‘90s were certainly larger than life, and so that is where screenwriter Michael Mitnick and director Alfonso Gomez-Rejon put most of their energies. But there is just no getting around the fact that this is a drama about men in top hats arguing over the best electrical current to use…