Wonderful Aspects of PSME Volumes 5 and 6

-Rin's "I am evil" expressions
-Rin's "I am perfectly innocent" expressions
-Rin's "Ooops, what did I just say?" expression
-Rin's "Gyokuran, you are an idiot" or "I have no idea what you are talking about" or "This is the most ridiculous thing I have ever heard in my life" or possibly "Man, you have a lot left to learn" expression
-Rin's "Despite the fact that I have not yet achieved double digits, I am amazingly patronizing" expressions
-Rin's "I am actually the single most patronizing person in the history of the universe" expression
-Gyuokuran and Shion have an argument even though Shion is not actually there! I will always love that.

Only One Coin

The Neverending Story was my favorite movie as a kid, and I still quite enjoy both the movie and the book version. That having been said, it occurred to me while watching the movie today that the relationship between creativity and the void presented by the film is one that I'm not entirely comfortable with. Trying to think of an alternative model, I realized that, perhaps unsurprisingly, I find it best expressed in Fire and Hemlock:

"Two sides to Nowhere, Polly thought. One really was a dead end. The other was the void that lay before you when you were making up something new out of ideas no one else had quite had before."

Guess Who THIS Post Is about!

Isabel Archer: "A swift carriage, of a dark night, rattling with four horses over roads that one can't see - that's my idea of happiness."

---The Portrait of a Lady, Henry James

Rereading The Portrait of a Lady does make me feel very anxious that I will somehow inexplicably wind up marrying Gilbert Osmond.

I mean, metaphorically. You know.

_What Maisie Knew_

In his Preface, Henry James himself picks out two scenes in What Maisie Knew as demonstrating particular excellence. One of these is the scene where the Captain, Maisie's mother's lover, says the first nice words Maisie has ever heard about her mother in her entire life, moving her to tears. The other is the scene where Maisie's father urges his daughter to let him take her to America, all the while making it quite clear to her nonverbally that he desperately wants her to refuse. Perhaps because these are the scenes James himself picks out, perhaps because they really are quite excellent, I did in fact remember both these scenes.

But I did not remember the scene in which the following happens:

ELDERLY WIDOW: Your father is a manwhore. And that's his best quality.
. . .
[later]
. . .
ELDERLY WIDOW: Your beloved stepmother is also a whore.
SMALL GIRL [Maisie's age at this point is slightly unclear, but I would guess she's twelve or thirteen): Well, but aren't you a whore too?

I so much <3 Henry James!

Old Pretender

So, I've been re-reading The Wings of the Dove after finishing all my real work for the semester.

Then I had to spend an hour sitting around with nothing to do.

So I wrote the following sentence:

"After all, she felt, in her inner self, that she left rather a lot out, on the whole, when it came to pleasing others, so that she was positively obliged, insofar as she considered her general attitude a failure of the ideal, to make up for the absence as much as possible in those simple cases wherein the effort should be, thankfully, not quite too much to bear - and if she was unavoidably conscious of the fact that others - particularly those who, while always serving as attentive and sympathetic auditors of her complaints, were perhaps somewhat removed from or oblivious to the waves more typically spreading from the pebble dropped by her standard inconsistent treatment of her social relations - tended to see her as erring on the side of doing nothing else but too much, as far as her kindnesses were concerned, she rather suspected that no one would be able to sound the abyss of cynicism she knew to lie behind the gilded mask of her compassionate veneer better than she herself could."

I am rather proud of myself.

If nothing else, I think this provides strong evidence for the contention I used to make back in my Henry James and Flaubert course in graduate school (which had something of an unfortunate tendency to turn into a Henry James versus Flaubert course) that the prose style of Henry James - yes, even the late Henry James! - does a better job of representing my own experience of thought than the prose style of Flaubert!

Constructive criticism is welcome! Writing like late Henry James is interesting - it's much more like writing poetry than writing most prose (although this may be simply because when I'm not going for pastiche I don't bother sufficiently about style when writing prose).

The Workers Move to the Suburbs

Belle & Sebastian's new album is apparently out now, not that I'm going to hear it for a while yet, and they produced a video in order to promote it. The video is a slightly odd one; about half of it is promotional material for the album, with performances of a few songs, songs running over photo and video clips, fans asking the band questions and having the band answer - and then another half of it is about the future of the music business, with a parody of a marketing executive (who, as a fierce Scottish man in business attire talking about media relations, reminds me awkwardly of Malcolm Tucker from In the Loop, such that I kept on waiting for him to curse more), questions in the interview about what young aspiring musicians should do, a whole conversation between members of various different about the changes that the industry is undergoing. The parody of the marketing executive even involves the mention of making a promotional video (which is on a list of things that will completely fail to help sell the album).

Although it did strike me as an odd topic for your promotional video to cover, I suppose that Belle & Sebastian were interested in discussing because as successful recording artists it's certainly something they must think about with at least moderate frequency - and something, I suppose, that all fans of music might legitimately be interested in. It's interesting for me at least in part because I've also been reading news and commentary lately about the future of the academic humanities - musicians are worried about their future, so are humanities scholars. The rhetoric on both topics even has a certain amount of similarity between it - take a look at the similarities between Mick Jagger's comments here and the point (which I can't seem to find a citation for now, but which I promise you I have seen today) that the academic study of modern languages is in fact a relatively new phenomenon in itself.

It makes me wonder what it's like to be old - to have more experience. There are aspects of the way things are that are so new that they've arisen within my own lifetime; I know that it's only very recently that it ever would have occurred to me to have a blog. But some things, like recorded music and academic humanities, have been around since well before I was born and seem pretty standard and normal. Thus, it's weird to think of them as relatively recent and ephemeral. I wonder if this is a fallacy that one ever grows out of, or if it's something that remains, no matter how old you get - well, I suppose it probably wouldn't remain if you were magical and consequently significantly longer-lived than non-magical people, but this doesn't really seem like a salient qualification ;-). I also wonder if there was always an issue. I have my own stereotype of the very normalization of rapid change in society and technology as being a relatively recent phenomenon, especially as a global phenomenon. And I think this is a very standard stereotype. But even if quantitatively this is true, I wonder about how my own ancestors, dating back for tens of thousands of years, actually experienced their lives - whether had a core sense of stability that I really don't possess thanks to being raised with a different set of expectations, or whether even when technological change was much slower than it is today, there was still a sense of the basic instability of society, because cultural changes that would seem minuscule to us seemed far more significant to them.

One thing I love about myself is the way I am nearly always able to find an extremely apt title for a blog post. Thank you, self!

Both of You Dance Like You Want to Win

Why do I say indie-pop, not indie rock? I don't know. It's just a habit I picked up, but to the extent that there's a conscious motivation, I think it's because of the way all the bands I like turn out to have some relationship with dance music. The odd thing is that this happens regardless of whether or not the songs that get me into the band are like that. So. . . let's go through bands I like:

-Pulp: Dance-y from the first, I think. "Common People" sounds dance-y to me. What's more, this is a band that has a compilation CD named "Goes to the Disco" and actually recorded a song that is pretty straightforward house music.

-Yoko Kanno and the Seatbelts - Well, this isn't even indie to begin with ;-). "Cosmic Dare" is kind of dance-y nonetheless, but it's hardly typical.

-Franz Ferdinand - "Music that girls [such as myself] could dance to." 'Nuff said.

-Belle & Sebastian - Okay, I first got into B&S thanks to "Get Me Away from Here, I'm Dying" and "Judy and the Dream of Horses." Not dance-y at all, right? So how could I expect when I first heard those songs that I was also falling in love with the band that put out "Your Cover's Blown"?!?

-The Delays - Actually, their third album was less dance-y than the first two, and I didn't like it nearly as much.

-of Montreal - I think this is the most egregious example. Started out intrigued by hearing "Penelope" on Pandora. Wound up addicted to, I don't know, "Faberge Falls for Shuggie" or something. "Faberge Falls for Shuggie," btw, would be the most hilarious title ever, but "Strawberry Letter 23" is actually probably less funky than "Faberge Falls for Shuggie," which ruins the joke.