who knew that touring the basements of new jersey would be this little gem of a indie band that sounds like if the strokes didn't wear their irony so thin in their skinny jeans and just played fun rock and roll. their album is aptly named the '59 sound. here's to the gaslight anthem!
Saturday, June 27, 2009
where are the ghosts of american rock and roll? o dreaded new jersey...
who knew that touring the basements of new jersey would be this little gem of a indie band that sounds like if the strokes didn't wear their irony so thin in their skinny jeans and just played fun rock and roll. their album is aptly named the '59 sound. here's to the gaslight anthem!
Sunday, June 7, 2009
THE GOLD RUSH (1925) dir. Charlie Chaplin
Tuesday, June 2, 2009
Sunday, May 31, 2009
yayoi kusama / more polka dots
exiled to english / ha jin
Exiled to English
Boston
I WAS in the People’s Liberation Army in the 1970s, and we soldiers had always been instructed that our principal task was to serve and protect the people. So when the Chinese military turned on the students in Tiananmen Square, it shocked me so much that for weeks I was in a daze.
At the time, I was in the United States, finishing a dissertation in American literature. My plan was to go back to China once it was done. I had a teaching job waiting for me at Shandong University.
After the crackdown, some friends assured me that the Communist Party would admit its mistake within a year. I couldn’t see why they were so optimistic. I also thought it would be foolish to wait passively for historical change. I had to find my own existence, separate from the state power in China.
That was when I started to think about staying in America and writing exclusively in English, even if China was my only subject, even if Chinese was my native tongue. It took me almost a year to decide to follow the road of Conrad and Nabokov and write in a language that was not my own. I knew I might fail. I was also aware that I was forgoing an opportunity: the Chinese language had been so polluted by revolutionary movements and political jargon that there was great room for improvement.
Yet if I wrote in Chinese, my audience would be in China and I would therefore have to publish there and be at the mercy of its censorship. To preserve the integrity of my work, I had no choice but to write in English.
To some Chinese, my choice of English is a kind of betrayal. But loyalty is a two-way street. I feel I have been betrayed by China, which has suppressed its people and made artistic freedom unavailable. I have tried to write honestly about China and preserve its real history. As a result, most of my work cannot be published in China.
I cannot leave behind June 4, 1989, the day that set me on this solitary path. The memory of the bloodshed still rankles, and working in this language has been a struggle. But I remind myself that both Conrad and Nabokov suffered intensely for choosing English — and that literature can transcend language. If my work is good and significant, it should be valuable to the Chinese.
Ha Jin is the author of “A Free Life” and “Waiting.”
salman rushdie on slumdog millionaire
paris, texas
i'm a feather-cloaked mighty thunder.
i wore my techni-color dream coat last night at the opening at the gagosian in beverly hills. the cameraman who was taping the show followed me around everywhere. its such a showpiece.
francis bacon
there's a new francis bacon retrospective at the met. i stumbled upon this picture of him posing next to meat. i think its pork. it must be pork. then look at the painting.
from my new short story: the canto pop starfish
Starfish have two stomachs. One stomach digests; the other extends outward to engulf prey. This feature of their anatomy allows a sea star to hunt creatures that are much larger than its mouth would otherwise allow.
They say that a star is born when a girl is about to break in her career.
Since the mermaid cannot sing, she is stillborn, a starfish, a murderous mutation.