Archive for the 'art' Category
Did you see this hilarious chat between journalists Emily Dreyfuss and Ben Dreyfuss, the children of Richard Dreyfuss, about their recent viewing of Jaws, the movie that made their father a famous actor? It’s really funny–they agree that the movie “makes no sense.” My fave part (SPOILER ALERT!):
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OMFG. This is a completely incoherent critique of Orange is the New Black because–get this!–the show which is about a women’s prison doesn’t portray male prisoners realistically or accurate to their numbers in U.S. prisons. See if you can make more sense of it than I can.
Hey, Concern Troll: where was your column about the mis- or under- or stereotypical representations of women on just about every other television program or movie ever made? Did you have this concern about Oz, or Silicon Valley, or The Bachelor? I guess I missed that. All I can see is that you’re complaining that you can’t see a man like you on the one semi-high profile program on TV that features women’s stories (and not just white women’s stories!) Continue Reading »
I’m having serious (and completely drug-free) flashbacks to my 1970s childhood courtesy of this advertisement, which I found at AdViews in the Duke University Libraries’ Digital Collections:
“You can see that they’re build solid, flashy, and hip.” Continue Reading »
Someone disagreeable is trying to persuade you to take a trip to Bath.
Your father is absolutely terrible with money. No one has ever told him this.
All of your dresses look like nightgowns.
. . . . . .
You have five hundred a year. From who? Five hundred what? No one knows. No one cares. You have it. It’s yours. Every year. All five hundred of it.
. . . . . .
A woman who is not your mother treats you like her own daughter. Your actual mother is dead or ridiculous.
You develop a resentment at a public dance.
Some of that sounds pretty good: the five hundred a year, and the dresses like nighties, natch. What’s not to love? Continue Reading »
Last week, Kate Raphael of Pacifica’s Women’s Magazine (KFPA 94.1) contacted me to see if I would let her interview me about Stephanie Camp and the importance of her scholarship. Kate put together a series of commemorations of the lives of feminist women who have died recently–Maya Angelou, Sandra Bem, and Stephanie. The show also features a lengthy interview with Stacy Russo, who edited Life as Activism: June Jordan’s essays in the Progressive. Russo shares her memory of Jordan as a teacher as well as reviews the importance of her work.
Does anyone else feel like he’s a Mad Men character (Donald Draper/Roger Sterling) who showed up forty years late with ideas that are seventy years out of date? Every time I hear his name it’s like I’m in a meeting at Sterling Cooper Draper Price.
Junot Diaz, an alum of the Cornell University MFA program, on MFA vs. POC: “Lately I’ve been reading about MFA vs NYC. But for many of us it’s MFA vs POC.” He continues,
I didn’t have a great workshop experience. Not at all. In fact by the start of my second year I was like: get me the fuck out of here.
So what was the problem?
Oh just the standard problem of MFA programs.
That shit was too white.
Some of you understand completely. And some of you ask: Too white … how?
Too white as in Cornell had almost no POC—no people of color—in it. Too white as in the MFA had no faculty of color in the fiction program—like none—and neither the faculty nor the administration saw that lack of color as a big problem. (At least the students are diverse, they told us.) Too white as in my workshop reproduced exactly the dominant culture’s blind spots and assumptions around race and racism (and sexism and heteronormativity, etc). In my workshop there was an almost lunatical belief that race was no longer a major social force (it’s class!). In my workshop we never explored our racial identities or how they impacted our writing—at all. Never got any kind of instruction in that area—at all. Shit, in my workshop we never talked about race except on the rare occasion someone wanted to argue that “race discussions” were exactly the discussion a serious writer should not be having.
. . . . .
In my workshop what was defended was not the writing of people of color but the right of the white writer to write about people of color without considering the critiques of people of color.
Oh, yes: too white indeed. I could write pages on the unbearable too-whiteness of my workshop—I could write folio, octavo and duodecimo on its terrible whiteness—but you get the idea.
The book that kept Matthew Pratt Guterl indoors all last summer was published last month by Harvard University’s Belknap Press. Rebecca Onion gives it a nice rundown here at Slate:
Baker was born in St. Louis but moved to France in 1925. Her danse sauvage, famously performed in a banana skirt, brought her international fame. During World War II, she worked for the Red Cross and gathered intelligence for the French Resistance. After the war, married to her fourth husband, Jo Bouillon, she struggled to conceive a child. Meanwhile, her career waned. Guterl’s book is about this period of Baker’s life, as she built her large adopted family, became ever more active on behalf of the nascent civil rights movement in the United States, and re-emerged into fame.
Baker purchased her estate, known as Les Milandes, after marrying Bouillon in 1947. In addition to the chateau, the property boasted a motel, a bakery, cafés, a jazz club, a miniature golf course, and a wax museum telling the story of Baker’s life. As Guterl makes clear, the place was over-the-top, but its ostentation was a political statement. Les Milandes, with its fairy-tale setting, announced to the world that African-American girls born poor could transcend nation and race and find wealth and happiness.