As you may have heard from our own Bill Morris, The Canyons, the new movie starring James Deen and Lindsey Lohan, is a bad film that somehow manages to be worth watching anyway. At the LARB, Naomi Fry agrees with this assessment, arguing that the film is important because it “identifies how desperately many of us still want to believe that the larger-than-life, commodified good life is still available to us.”
Bad Yet Vital
I Slide and Slide
“In the dark comes spiders out of art and first I’m sleuthed away. Measuring up the vying worlds. Meandering into the emphasised words but under neat speeches are oceanous platitudes and so I slide and slide.” An exclusive excerpt from Year in Reading alumna Eimear McBride’s new novel, The Lesser Bohemians, in The Times Literary Supplement.
North Carolina Literary Festival Sets Its Lineup
The North Carolina Literary Festival just announced its lineup for the 2014 engagement, and it’s stocked with Millions favorites. Among others: Junot Díaz, Scott McClanahan, Richard Ford, Ben Fountain, and William T. Vollmann. The festival will take place in Raleigh from April 3rd through April 6th.
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If It Is Fine Tomorrow
This list of the ten best weather events in fiction history includes, among other things, the mud in Charles Dickens’s Bleak House and the fraught weather forecast from Virginia Woolf’s To The Lighthouse. Let’s talk a little bit more about weather with this review from The Millions.
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Exploring the 92nd Street Y’s Digital Archive
Audio for over 10,000 events – including concerts, poetry readings, and public interviews – is being made available on the 92nd Street Y’s new digital archive. Among the treasures in the trove are readings by Tennessee Williams, Vladimir Nabokov, and Susan Sontag. (Thanks Andrew.)
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Putin Wins the World Cup
"Putin, like Hitler, understood that the purpose of spectacles is to dazzle the eye while clouding the mind." For the Daily Beast, staff writer Bill Morris writes about the thuggish dictators who love the propaganda of the World Cup. (If you haven't already checked out our list of seven great soccer reads, do it now!)
Have Eyes, Will Write
You’ve read Elif Batuman’s dissertation on the double-entry book-keeping of novelists (pdf), but now your “debit” balance is low. (Whose isn’t these days?) Enter Sheila Heti and Misha Glouberman. They can document your very essence. The Paris Review has an excerpt from The Chairs Are Where the People Go.
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Regarding the Pain of Others
Can confessional writing be literary? Kelly Sundberg writes, “When I sit down to write literary writing about my trauma, I am a writer first, and a trauma survivor second, but I am not ever not a trauma survivor, and as such, I am often interested in examining the roots and effects of my own trauma.”
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Your Life Will Change
"Your shipment of personal copies will never arrive. Your publisher will not be able to track their fate, nor replace them. A week will pass and you will wander into the animal shelter at a nearby strip mall and find a dog cage lined with the urine-soaked pages of your book. Your eyes will meet the eyes of the miniature schnauzer that resides in your shredded work. You’ll think: this is fate. But the adoption center won’t approve your application because you can’t claim any substantial income." Electric Literature has compiled the "The Ten Ways Your Life Will Change After You Publish Your First Book," so you can't say you weren't warned.
Anything the critics are getting out of this movie is something they had already brought with them, and the move is giving them a chance to present their ideas as if it’s an organic part of the experience of watching the movie. The Canyons isa pitch-perfect example of incompetence and devoid of any significant meaning beyond what it gives you, which is nothing. The movie is literally empty. The acting is horrible, the script is sub-telenovela, the camera work is film schoolish, and Schrader seems to have forgetten how to edit. Some of these quasi-positive reviews are acting as if this movie, despite itself, is the skeleton key to understanding the current zeitgeist. I’m more interested in way some critics are so intent on giving trash like this a pass, why they want it to be something it so clearly is not.