2025 Books Read

I ended last year with a flurry of Oscar Wilde’s short stories, declaring I’d read all the plays in 2025. I mean, there were only five, sadly, due to the homophobic violence of his own society. I know these plays so well. When I re-read them it seriously is like sitting down with an old friend. I KNOW what they’re going to say but I love them and I can’t wait to hear it. I read a lot this year and I read all over the place. I read children’s books, I read the Romantics, I read 20th century totalitarian warnings. This year I am going to read all of Shakespeare’s plays. (Re-read should be understood.) I did a full read of all of them maybe ten years ago. I am feeling the yearning again. 2026 here we come. There’s so much to read, old and new, I have to at least have a SKETCH of a plan moving forward. I can’t just leave it ALL up to chance.

Here’s what I read in 2025.

1. Frankenstein: Or The Modern Prometheus , by Mary Shelley
2025 was the year of Frankenstein for me, although so was most of 2024, since I “got the job” in March of 2024. I carried Shelley’s book with me everywhere. I referenced it constantly. I can recite long passages of it by now. Writing my book was a BEAR but I miss “hanging out” with all those people, the artists who made the film, and Mary Shelley and her friends.

2. Instead of a Letter, by Diana Athill
I can’t remember how this memoir came on my radar. I hadn’t heard of it, although apparently it was beloved by generations. I love it when that happens. I am not an academic or a scholar, and so I have blind spots and blank spaces and there’s a bunch of stuff I don’t know. This book must have been referenced in something else and it intrigued me. Athill was an editor for almost half a century, and she wrote a number of memoirs. This is the important one, the one everyone knows. She details her childhood vividly, but the central event is the love affair she had as a young woman. They got engaged and then World War II started. Long separations ensued, and he basically married someone else without even letting her know. This shattered Athill to such a degree that one could say she never really “got over it”. She was “disappointed”, in some ways, for good. She ended up remaking her life, all while feeling like the other life – the one with HIM – had more reality than the one she was actually living. The life she had was second best. But life must be lived nonetheless. There is no cozy neat catharsis here. She doesn’t “come through to the other side”. What she DOES do, however, is make a life for herself ANYway. And what an extraordinary life. She writes about heartbreak so vividly I could feel it. As someone who went through a similar “disappointment” in my late 20s, with a similar aftermath (albeit not with a World War involved), this was a painful book for me to read but I am very glad it exists.

3. The Children’s Story, by James Clavill
I read this wee story in high school and it scared the shit out of me. Granted, I was tail-end-of-Cold-War child, but I wasn’t looking at it in a Red Dawn way. It just scared me because of the TONE of it. It does lay out how easy it is to control others, particularly children. This was turned into a television movie: Gen X kids will remember. I actually couldn’t remember who wrote it and I couldn’t remember the title, but it was vivid in my mind – including the cover. So I had to get creative with Google searches to find it.

4. The Portrait of Mr. W.H: Uncover The Identity of The Enigmatic Dedicatee of Shakespeare’s Sonnets, , by Oscar Wilde
I first read this in 2023. I couldn’t believe there was an Oscar Wilde I hadn’t heard of. It’s a portrait of obsession and madness, a companion piece to Dorian Gray, with a similar feverish tone.

5. Intentions, by Oscar Wilde
This small book is made up of four essays: “The Decay of Lying,” “Pen, Pencil and Poison,” “The Critic as Artist,” and “The Truth of Masks” – all extremely important artistic statements of purpose by Wilde, essential reading. My first Oscar Wilde “phase” was in college, so these are all like well-worn sweaters to me and I love revisiting them.

6. The Soul of Man Under Socialism and Selected Critical Prose, by Oscar Wilde
I was only familiar with the title essay which is, rightly, famous and very provocative but the other pieces I hadn’t read before.

7. Salomé, by Oscar Wilde
It’s hard to believe this was written by the same guy who wrote Ideal Husband.

8. Lady Windermere’s Fan, by Oscar Wilde
This was Wilde’s breakthrough. His first couple of plays – the bizarrely wooden Nihilists and the dreary Duchess of Padua – weren’t produced. He had written Salome, but it hadn’t been produced yet. Wilde decided to aim at the upper-class, and basically throw out everything he had been working on before. He took a trip to the Lakes region – where, like Wordsworth and Coleridge before him – poets went to get inspired and fill the well. He wrote Lady Windermere’s Fan, which, incidentally, has my favorite Oscar Wilde quote – or, let’s just say, it’s the one that pops into my head most often. “It is absurd to divide people into good and bad. People are either charming or tedious.”

9. A Woman of No Importance, by Oscar Wilde
After the smash hit of Lady Windermere, anything else would be a come-down and this one was. It still had a nice healthy run though. A real ensemble piece, with like 10 people onstage at any given moment, everyone speaking constantly. I actually have never seen a production of this.

10. Ex-Wife, by Ursula Parrott
A bestseller in 1929, published anonymously. For I suppose obvious reasons. It’s about a divorce. Even the Jazz Age, I guess, found some of the city shenanigans a bit too shocking. The events, including an abortion, are presented without euphemism or even moralizing. It’s franker than Sex and the City about the realities of dating/sex. Despite the book being a smash hit, it subsided into total obscurity. I mean, I’d never heard of the thing. Someone I know posted about it on Instagram, in such glowing tones, I bought a copy immediately. Obviously, the book has recently been rescued and issued by the publishing arm of McNally Jackson. It’s SO good. What a find.

11. An Ideal Husband, by Oscar Wilde
One of his best plays! The film – with Rupert Everett – is very good (at least in my memory it is. I saw it at the Angelika!)

12. Poems in Prose, by Oscar Wilde
These “poems in prose” were also new to me. There are six and all in this collection, and they’re meditations on different aspects of art and creation, as told from different perspectives.

13. Importance of Being Earnest, by Oscar Wilde
Not too many plays can make you laugh out loud just by READING them.

14. The Book of Disquiet, by Fernando Pessoa
See my earlier comment about blind spots. My Bloomsday friend Therese was in Portugal and posting all of these pictures of herself in Lisbon, referencing this book and Pessoa, posing next to his statue, sitting in the cafe where he wrote. She said that he is the main inspiration for all the writing she has done. I felt stupid. And I love Therese and she loves Ulysses – it’s how we met! – so how could I have never even heard of this? I didn’t take CLASSES in this, so nobody informed me! lol This book is hard to explain or even describe, and clearly I am shamefully late to the party. But I was absolutely entranced by every single page of this … sui generis … book. Difficult and suicidal, often, it’s not an easy read. As with James Joyce, the movement of this book is confined to one city – really, to a couple of blocks. The “movement” is mostly internal. I got almost as interested in Pessoa as I did in his work, and the stuff I read ABOUT him – and how he kept creating these other characters, with full biographies, and would write AS them – his “alters” – fascinating. Difficult book, though. I really had to concentrate.

15. Lynch on Lynch, by David Lynch
David Lynch died and the world felt comfortless when he passed and in many ways it still does. I immediately did a full re-watch of all of his films as well as all of Twin Peaks, while also reading work by him and about him.

16. Beautiful World, Where Are You, by Sally Rooney
Sally Rooney is a romantic. I think I didn’t clock it right away since her characters often talk about Marxism and late capitalism and she makes stabs at showing class differences (Normal People being the most famous example). Sometimes I listen to Sally Rooney speak and it feels like she might not understand her own work, and I realize this is incredibly obnoxious of me to say. Her characters have endless time to think about their own relationships and dissect them and discuss them. Which, fine, they’re all young people and this is what young people do. They are self-involved! I was too! My relationships were everything! But because of the focus on interpersonal relationships (so much so that relationships seem to be the only game in town), when the characters go on and on about Socialism or Marxism or whatever-ism, it has a tendency to sound mannered or performative. You could even say that Rooney is gently mocking their self-serious pretensions. But is she? Listen to her speak in interviews. I don’t feel like she’s mocking these things. She’s writing about it from the inside of it: she observes the trends, she writes from the center of it. She’s now so famous that in this, her latest novel, one of the characters is a famous novelist, who hit paydirt with her first novel, which captured the zeitgeist or whatever, exactly the response Rooney got for Normal People. You know how after rock bands or musicians become famous all they can write about it is the rigors of the road, and how wild it is to be famous. It becomes their only subject. I think, honestly, love is Rooney’s only subject, the thing that interests her the most, although you’d never know it from her interviews. She’s an easy read. Her prose is not fancy. She is precise. She’s fun to talk about and think about. Anne Enright’s essay is good.

17. Collected Poems of Oscar Wilde, by Oscar Wilde
His poetry is often pretty mannered, with flashes of brilliance, but all in all a challenging read. I was having fun with it though. I am a completist.

18. A Few Maxims for the Instruction of the Over-Educated, by Oscar Wilde
Speaking of being a completist …

19. Epigrams, Phrases, and Philosophies, by Oscar Wilde
Ibid.

20. Twin Peaks: The Final Dossier, by Mark Frost
It’s been a difficult year, a difficult couple of years. Twin Peaks has been there for me when things got bad. 2017 … I CLUNG to “The Return”, it helped me so much during that horrendous year. I basically cleared the deck, and inhaled the dossier. It’s all so bittersweet but David Lynch had such a profound relationship with “bittersweet” – his work is so full of it – I really needed this.

21. The Secret Diary of Laura Palmer, by Jennifer Lynch
If you haven’t read this … I read it back in the day. It’s tough. A very tough read. Haunting. There are more profound thoughts but along with the toughness of this year, and how hard I have been working, I have been a little tapped out in going deep (in my words, that is). “The Secret Diary” makes me cry. Repeatedly.

22. Diplomatic Prelude 1938-1939, by L. B. Namier
I had to track this one down. I can’t remember how I got onto it – it had to have been mentioned either in a footnote or in passing in one of my many “Europe in the 30s” books. Nemier was a historian and he published this in 1948, the whole thing based entirely on the “dossiers” passed back and forth in the diplomatic services during that crucial terrible year, 1938-39. France, Poland, German diplomats. Nemier had access to all of their “books” and this book is the result. The march towards a continent’s doom. Highly recommended.

24. De Profundis, by Oscar Wilde
I dreaded reading this again. It’s so hard. You can feel his desperation, the betrayal, the hurt. It’s terrible. Why did I put myself through this.

25. Essays, Letters, Journalism, by Oscar Wilde
This was invigorating, a lot of it new to me. I love his journalism, book reviews, essays.

26. Reading Chekhov: A Critical Journey, by Janet Malcolm
This made me want to dig into his short stories. I’ve only read a handful.

27. Legends of Modernity: Essays and Letters from Occupied Poland, 1942-1943, by Czesław Miłosz and Jerzy Andrzejewski
I’ve had this book for ages but never read til now. I’ve always admired Miłosz, as a poet, a dissident, an essayist and thinkier, his courage to look the evil of tyranny in the face and then … have the wherewithal to dissect it, name it, name what happens to society and its people under it – in his masterpiece The Captive Mind, which I’ve read probably five times. I’ll read it again. At any rate this is a fascinating book, written by two writers and friends, letters passed back and forth in occupied Poland. Two very different men, and probably risking a lot to be pouring forth in this way about the situation and what they were experiencing. Jerzy Andrzejewski was new to me, and I set about rectifying that blind spot immediately.

28. The Bad One: A Memoir About Growing Up a Scapegoat, by Erin Tyler
Oh God. Real old-timers – people who have been reading blogs since the early 2000s – will (maybe?) remember her. She ran a blog called The Bunny Blog, and it was “appointment television” back in the day. She once dated the infamous Tucker Max – ! – and they remained friends, which, considering Max’s reputation, is fairly hard to believe. Long ago, Tucker Max set up his own … domain maybe? which hosted blogs of all of his friends, many of whom went on to have their own stand-alone success. Erin was the sole woman in that sausage fest. WHAT a writer. She was feral and funny and heartbreaking and smart. She made her living (still does, apparently) as a graphic designer. She’s an artist. Tucker Max’s domain went away and Bunny Blog sank into the maw of forgotten time. There are a lot of younger writers around now, getting lots of praise, but none of them hold a candle to Erin. We lost a lot (in my opinion) when she went away. There was a real VOICE. On occasion I’d look for her over the years, Googling her, looking in the Wayback machine. I really missed her. Well, recently, I got a hit – a major one. She published a book! And, apparently, Tucker Max – him again – now has a publishing business? Not sure how that all worked but she came out with a book about her childhood and young adulthood, and it’s filled with her illustrations. I cannot say enough good stuff about her and also how much I have missed her voice.

29. Karaoke Culture, by Dubravka Ugrešić
She is a recent-ish discovery, and I am playing catch-up. She died recently, which saddened me, because her perspective – as a dissident Yugoslav (of all things) – is so invaluable. She was basically forced into exile in the early 90s for not being rah-rah enough about the Balkan wars and/or not getting on board with the rise of Croatian nationalism, and also for being a feminist. A price was on her head. She was called a witch from the highest offices in the land. The country became not safe for her. Her The Museum of Unconditional Surrender is a wonderful book about living in exile. She was hilarious and razor-sharp, and did not “play well with others”. She writes about serious stuff, like misogyny and nationalism, but she also digs into things like pop culture. Every sentence is a gem. They tried to silence her. Cowards always do. They failed.

30. The Fifty Year Sword, by Mark Z. Danielewski
He has a new one out! Any new Mark Danielewski book is an event. You write House of Leaves and I will follow you everywhere. Even here!

31. Ghost in a Four-Room Apartment, by Ellen Raskin
Things were falling apart, or I felt like I was going insane in the spring, so I reverted to childhood. Ellen Raskin was a childhood fave – her The Westing Game is an O’Malley obsession – but there were others I remembered and I bought them all second hand. This is a funny picture book and her illustrations are fabulous.

32. Spectacles, by Ellen Raskin
I haven’t read this since I was seven years old. I remembered the illustrations. I just soaked them up.

33. Crush, by Ellen Conford
Ellen Conford was a favorite of mine in what we now call the Tween years. Great high school romance stories, nothing too sappy, witty and a little bit screwball. I wish there was more like this now. Now it’s all dystopia and vampires. No shade against dystopia and vampires, but a little hopeful light-hearted romances, and shenanigans and misunderstandings, with broad types revealing different sides, etc. … Ellen Conford was positive. Not naive. But positive. She cares about this stage of life and you can feel it. Interpersonal relationships are everything in junior high.

34. The Magic Finger, by Roald Dahl
I adored this at 8 and I adore it now. It’s Carrie for grade schoolers.

35. Ashes and Diamonds, by Jerzy Andrzejewski
After a short break reading picture books and short stories about high schoolers, I caught up with Jerzy Andrzejewski, as I promised I would after Legends of Modernity. I’m so glad I did! The novel takes place in the final few days of World War II, the post-war power struggle already beginning in Poland, with the resistance being suppressed, the anti-Communist groups crushed, a violent power grab already in play. A sliver of time I hadn’t ever really read about. Because of course … Poland was going to be trapped behind the Iron Curtain. Their resistance to Nazi Germany was so ferocious. How did power consolidate the other way? Andrzejewski lived it. Fascinating.

36. The Hard Crowd: Essays 2000-2020, by Rachel Kushner
Haven’t really read much by her – maybe because her Flamethrowers was so damn good I didn’t want to risk being let down. She’s an interesting woman. She speaks plainly. The “plain-ness” of her language is one of the startling characteristics of Flamethrowers: how upfront and non-writerish she sounds. Very confident.

37. This Way for the Gas, Ladies and Gentlemen, by Tadeusz Borowski
I hung around in Poland for much of this reading list. Borowski’s stories about being in Auschwitz (and other camps), are shocking and also not what I expected. They’re horrific but it’s not just violent and death they portray: the stories are portraits of boredom, endless boredom, and the minutiae of life under those conditions: pretending to work hard but sneaking in breathers, how things worked, how you got in line for the soup, etc., how information traveled by word of mouth. Borowski’s life story is horrific, caught between two murderous dictatorships. He was born in Ukraine, then part of the Soviet Union. His father was sent to a gulag for some bullshit, his mother was deported to Siberia for some bullshit. Murderous bullshit. His family was then deported to Poland in a prisoner exchange. They arrived in Warsaw, poverty-struck and traumatized, just in time for Hitler’s ascent. They were Jewish. They were doomed. Borowski did survive the camps but he killed himself in 1951.

38. To Write as If Already Dead, by Kate Zambreno
I was so impressed with Zambreno’s Heroines and Screen Tests. This book made me think maybe I don’t need to be a completist in this case. It’s interesting, but her tell-tale style was a little tiresome in this format. When you love a book as much as I love Heroines, you want to keep going back. Haven’t read her fiction. Not sure it’s my thing.

39. Good Morning, Midnight, by Jean Rhys
A woman-wandering-the-streets book. A classic of this niche sub-genre. I read this ages ago and it was fun to re-visit. I love adrift women, socially unacceptable women, obsessive messes who can’t seem to get out of bed sometimes, and find a strange comfort in travel and the anonymity of hotels.

40. If This Is Love, I’ll Take Spaghetti, by Ellen Conford
I adored this book at 15. I haven’t read it since! Another short story collection of high school romances. There’s one – a first date – written entirely in dialogue. It’s very creative, and you can totally tell which one is speaking. Snappy witty dialogue. Echoes of screwball. She’s excellent.

41. Journey to Russia, by Miroslav Krleža
Dubravka Ugrešić introduced me to this genius’ work, a legend in Croatian literature, mostly not known to us due to translation issues. His Banquet in Blitva is a stone-cold masterpiece, a great work of political satire, and it should be as well-known as any other book in that rare genre. I was blown away. There are a couple of other books available in English translation, this being one of them. Krleža was already a celebrated writer in 1924, when he got on a train and traveled from Yugoslavia to Russia. The Russian Revolution was a success and he wanted to see it first-hand. We have so few reliable witnesses to those years, since it was a revolution of ideology, so many people had so much to lose if they criticized what they saw. Prop up Russia. Everything Russia does is right. Here, he focuses on the details: the sense of ecstasy, the collective “high”, but also the disturbing undertones. It’s travelogue and reportage, by a master.

42. Complete Poems and Selected Letters of John Keats, by John Keats
My obligations to my book were over and I missed reading the Romantics. I spent a year in their company! I decided to do a Keats deep dive, always worthwhile. His life was so short but he left such a footprint: so many poems, so many letters, every word profound. He was the James Dean of that short-lived generation, and his death a tragic one. Reading “Endymion” is fascinating – his juvenilia, basically – it’s Hellenic fanfic, if I’m being honest, and it’s obvious why older poets were so torn. They mocked it, they hated it, but Keats clearly was something new. His poetic development was so fast, the learning curve so steep, it is as though he knew he would die young. Those ODES. You just can’t believe those freakin’ ODES. If you read the work in chronological order, it’s like they come from out of nowhere. Suddenly … there they are. Astonishing.

I must quote Dorothy Parker:

A Pig’s-Eye View of Literature
By Dorothy Parker

The Lives and Times of John Keats,
Percy Bysshe Shelley, and
George Gordon Noel, Lord Byron

Byron and Shelley and Keats
Were a trio of Lyrical treats.
The forehead of Shelley was cluttered with curls,
And Keats never was a descendant of earls,
And Byron walked out with a number of girls,
But it didn’t impair the poetical feats
Of Byron and Shelley,
Of Byron and Shelley,
Of Byron and Shelley and Keats.

43. The Tragic Mind: Fear, Fate, and the Burden of Power, by Robert D. Kaplan
I have a LOT to say about this writer. And I’m just too tired to get into it right now. I’m sorry! Let’s just say I have been reading him, regularly, for over 20 years. And he’s prolific: a book a year or so. This was really interesting. I had this weird sense he has been struggling, maybe even with depression. He “opens up”, and it’s admirable, particularly when he has had to admit he’s been wrong about so many things, so many big things. A lot of people can’t manage it. This is about approaching life with a tragic mindset: an understanding of the past does not give us much hope for the future, but thinking about the past with a “tragic mind” is our only way of facing the challenges dooming us. He’s not a comforting writer, and I have disagreed with him often, and for long stretches of time – he went off the deep end – and he realizes it now and deeply regrets it. I value his transparency, his willingness to say “I got it wrong.” The sense of having gotten things wrong has haunted his books now for almost a decade.

44. Bright Star: Love Letters and Poems of John Keats to Fanny Brawne, by John Keats
The whole Fanny Brawne aspect of Keats’ story just adds to the tragedy. If you haven’t seen Jane Campion’s Bright Star, what are you waiting for?

45. Somebody with a Little Hammer: Essays, by Mary Gaitskill
She’s always a little bit scary.

46. Revolution in the Head: The Beatles’ Records and the Sixties, by Ian MacDonald
I had so much fun with this. It was my summer project. I kept making projects for myself, I guess I didn’t know what to do with myself once my obligations to Frankenstein were over, once the manuscript was locked. I went through it song by song, listened to each song – songs I have heard 100s of times – 1000s? – and still not “over” any of it? How is this possible? Especially since I have no “nostalgia” for them and they pre-date my existence on the planet? What can I say: I grew up with aunts and uncles who loved them and passed it on, as well as our very memorable grade school music teacher. Our 4th grade music classes were unofficial Beatles-history lectures. Anyway, I went through song by song, reading each entry, listening again, going into the deep catalogue of different takes on the anthologies. It was a BLAST and I will do it again.

47. Essays in Criticism, by Matthew Arnold
This was a long time coming. I’d always wanted to read his essays on criticism, but it seemed daunting. He’s not exactly an easy writer. And he’s so learned he makes me feel like a dumbass. His name comes up constantly in all the reading I do, and I can recite some of “Dover Beach” by heart, and I am well aware of his stature but I’d always wanted to do a first-hand experience of him. I am always trying to better myself in completely meaningless ways. I have no idea how Matthew Arnold could ever be of any “use” to me in my “career” but I like learning things that have nothing to do with anything, learning things that CAN’T be used. He is not an easy writer but I really liked reading this.

48. We Don’t Know Ourselves: A Personal History of Modern Ireland, by Fintan O’Toole
One of THE reading experiences of the year for me. This was a gift and it’s horrifying but I can’t remember who gave it to me, so I can’t thank them. It’s hard to describe but I never wanted it to end. It’s memoir and cultural/political history: his life intersecting with Ireland’s, the history of Ireland – and his own – over the last 70 years. Fantastic. It made me miss my dad.

49. Edinburgh: Picturesque Notes, by Robert Louis Stevenson
When I was in Edinburgh for the Frankenstein shoot, Guillermo and Kim bought this for me as a little “thank you” gift. (And a picture of them walking on the streets, holding the bag in their hand, showed up in the newspapers the next day and Kim was identified as “Mia Goth” and we died laughing. Kim pointed at her hand: “Look. There’s your gift.”) So thoughtful. They inscribed it too. Very meaningful for me and I was very touched. I finally read it. I love Robert Louis Stevenson and it was fun to read his impressions of the city, which – honestly – sounds like it hasn’t changed much.

50. Late Fame, by Arthur Schnitzler
I believe this short story/novella was found in his copious papers after his death. The story of a writer who came out with a book of poetry long ago that didn’t really make much of a stir – he left it all behind – until he is “rediscovered” by a young group of bohemians, who treat him with reverence and awe, reinvigorating his life and self-esteem. Until … it’s a devastating piece of work, brutal and short.

51. Happy Hour, by Marlowe Granados
I’d been hearing a lot about this one, so I decided to check it out. I INHALED it. It is often laugh out loud funny. It reads like a bat out of hell. It’s Le Cote Basque for the New York Gen Z set. And if you understand that reference, and can take the metaphorical leap, you have my deepest gratitude.

52. The Anatomy of Fascism, by Robert O. Paxton
Paxton has been giving a lecture on fascism for many years and he finally put it in book form. It’s not a new book (2004), but fascism doesn’t change much. Why fix if it isn’t broke? Understanding how these things work has been an ongoing interest of mine ever since I read 1984 in high school and so it’s always somewhere on my radar. It’s been useful.

53. Judge On Trial, by Ivan Klíma
I read this one years ago and remember loving it. It’s so good: a judge returns to his homeland (clearly Czechoslovakia), working for the new regime, handed cases where the outcome is “understood” beforehand. He knows the verdicts he is supposed to pass down. But he is conflicted. He is also highly blackmail-able. Initially banned in Czechoslovakia, it’s a major work of literature.

54. No Judgment: Essays, by Lauren Olyer
People love to hate her. Her “hit” piece on beloved author Jia Tolentino is how she came on my radar, because it got everyone talking. Tolentino is a media darling, and Olyer went for the jugular. I am not familiar with Tolentino’s work – although I’ve read some things and liked them very much – so I have no dog in this fight. But Olyer stood alone against the tide of praise – and I admired her for it. There are some interesting pieces here. I liked the one on Sally Rooney.

55. Our Philosopher, by Gert Hofmann
Hofmann’s book is told through the eyes of a child, a German child in the 1930s, who watches what happens to his next-door neighbor, a professor and philosopher. Since the book has the POV of a child, he has no understanding of larger events and does not realize his society is sick. He participates in youth groups, and parades, and still loves his neighbor, having no sense the neighbor is “Jewish” or what that might even mean. The persecution of the neighbor begins. The boy asks questions, the adults evade, he notices changes, he keeps marching in parades, he does not connect the dots, he is too young. The words “Nazi” and “Hitler” are never used. It’s extremely effective.

56. All Things Are Too Small: Essays in Praise of Excess, by Becca Rothfeld
A regular reader mentioned this book in a comment here so I picked it up. The timing was fortuitous: the book was a good companion piece to Lauren Olyer’s book, although Rothfeld is a better writer, and she thinks about things in a deeper way. Rothfeld incorporates herself in her work in more thought-provoking and vulnerable ways. Olyer is interesting but she is not vulnerable. One of Rothfeld’s essays is also about Sally Rooney. Like I said, Rooney is fun to talk about and think about, wherever you come down in the spectrum of responses. Having read Rooney’s latest earlier in the year, it was fun to sit with both Olyer’s and Rothfeld’s analysis.

57. Lord Byron: Selected Letters and Journals, by Lord Byron
God, these are fabulous. They’re written slapdash – full of dashes – breathless – he’s totally open. Sexually frank. He’s constantly battling an STD, or fearing STDs, the promiscuity of mania. There, let me diagnose him. I am not the first to do so. You can FEEL his charisma, the charisma everyone talked about back then. He regales a friend with one anecdote about how he almost gently ushered a woman into the waves in Venice, because he forgot about the water part of the city’s equation. He went to help her into a gondola, forgetting the “street” was not solid, and the way he tells the story is hilarious. Screwball. Like I said, I have loved “hanging out” with the Romantics, and I “used” them in my research for my book, so much so that I missed them!

58. One Nation Under Blackmail: The Sordid Union Between Intelligence and Crime that Gave Rise to Jeffrey Epstein, volume 1, by Whitney Webb
Whitney Webb is controversial, so much so she’s completely ignored by the mainstream media, but she’s connected the dots. She should be used as a resource because she’s done the hard grueling work of piecing together a historical narrative, digging through archives and probably bombarding various offices with endless FOIA requests. The book is really not about Epstein, although volume 2 moves more specifically into him: these books are about the world of blackmail which created him. She’s not an elegant writer. These books read like facts-only dispatches from some war-torn front. There’s no emotion or even editorializing. It’s about how things are connected, providing histories of the Bronfman family (who ended up funding NXIUM as well – shady people), Les Wexner, and etc. I could have used a flow chart with all the names. I’ve seen her on podcast appearances and I’ve visited her site. She’s an investigative journalist, and her footnotes are essential. So many primary sources, which – in this day and age – breeds trust. Congressional reports, declassified reports, gained through FOIA. She lives in Chile and has a couple of kids so I have no idea how she got all this done. She has a couple research assistants.

59. How We Survived Communism & Even Laughed, by Slavenka Drakulic
Slavenka Drakulic is a Croatian writer, a novelist and journalist. Saying she’s Croatian is complicated, since she grew up in the former Yugoslavia. This book came out in 1993, directly following the collapse of the Soviet Union, and the explosion of various civil wars in the Balkans. How We Survived Communism very quickly became a feminist classic, since she interviews women throughout the former Yugoslavia about their lives, their everyday activities, how they are “doing” under the rigors of what is a failing system. I had never read it. It’s terrific.

60. On Tyranny: Twenty Lessons from the Twentieth Century, by Timothy Snyder
You can read this in like an hour. Nothing I didn’t already know but there are good tips here to keep your mind sharp, to be conscious of what is happening.

61. Starry and Restless: Three Women Who Changed Work, Writing, and the World, by Julia Cooke
This is coming out in February and the author kindly sent me an advance copy. It details the journeys of Emily Hahn, Martha Gellhorn and Rebecca West, and it is amazing. I’ll be writing more about it.

62. Seductio Ad Absurdum – The Principles & Practices of Seduction, A Beginner’s Handbook, by Emily Hahn
Starry and Restless added about 20 books to my “to be read” pile. I have read all of Rebecca West, but none of Emily “Mickey” Hahn, so I am going to rectify that this year. This is her “dating” book, her first book I think. She was a young woman in 1920s New York, sexually liberated, and this is her comical handbook of how to deal with different seductive situations. She ended up traveling to the Congo, by herself, before moving to Shanghai, where she lived for years, working as a teacher and journalist. I’ll be reading her books on those experiences next, but this was fun.

63. One Nation Under Blackmail: The Sordid Union Between Intelligence and Organized Crime that Gave Rise to Jeffrey Epstein, Vol. 2, by Whitney Webb
Volume 2. These were not easy reads. It’s basically a 700-page info-dump. The books came out simultaneously. She is a regular podcast guest and she has her own site, where she employs other investigative journalists to do deep dives into stories not getting covered. She’s being ignored by the mainstream. She’s been doing the work they should have been doing. Right-wingers have embraced her, but she is not “one of them”. She’s a lone wolf. And as a journalist, she’s a dog with a bone. I can’t verify any of her facts. I don’t trust anyone. But her approach is so practical and non-hallucinatory-it’s-all-because-of-a-liberal-cabal-conspiracy that I find her more trustworthy than other commentators, who adhere to one political ideology and want to crush the other side. You’re ruining our world with your bullshit and I want no part of it. Webb’s guiding philosophy appears to be “I wish everyone in charge weren’t criminals” and I don’t think you can credibly argue with that at this point.

64. The Hive, by Camilo José Cela
This was so good! Written in 1950, it takes place in the Madrid cafe culture of 1943, with the stultifying Franco regime consolidating its power, sending everyone scurrying. It’s not a long book but there are literally hundreds of characters, I had to make a little index just to keep everyone straight. There are multiple cafes where everyone gathers, there are political intrigues, social intrigues, you track each character. Not surprisingly, it was banned in Spain initially. I loved it.

65. The Art and Making of Frankenstein, by ME.
First time I’ve ever been on my own year-end reading list. It was a strange sensation to actually sit down and read it start to finish. Putting the book together was such a puzzle: I really had to come up with the approach before I wrote a word, since I had so much information at my fingertips. Writing it felt more like building a Frankenstein creature than actual writing and so I am pleased to say: it reads well! Go, me!

66. Pride and Prejudice, by Jane Austen
A retreat into the familiar. I needed it.

67. Selected Prose, by Charles Lamb
Like William Hazlitt, his name comes up constantly in my reading about Byron and Shelley and Keats (to echo Dorothy Parker). He knew everybody and everybody knew him. His backstory is notoriously horrific. His sister Mary was mentally ill and killed their mother, stabbing her with a knife. Charles ended up caring for his sister for the rest of their lives. They wrote a book on Shakespeare’s plays together. He himself was institutionalized for a bit (and in those days, “institutionalized” didn’t mean a nice hospital like McLean but horrific places like Bedlam.) He could not afford to be a full-time artist or writer. He worked for years as an accountant for the East India Company, doing his writing “on the side”. He was friends with Coleridge, Hazlitt. He’s a beautiful writer, warm and funny and human. He focuses a lot on food and drink, multiple essays are about eating too much. There are stories of him getting way too drunk at parties and behaving “inappropriately”. Everyone was like, “Oh, that’s just Lamb, he’s just like that.”

68. Good Material, by Dolly Alderton
My sister Siobhan told me about this book last summer and then gave it to me for my birthday. She has such good taste in new fiction: I have loved everything she’s recommended. Good Material is excellent! It’s about a low-level stand-up comic in England, who goes through a breakup, and is so distraught it seems impossible he will get over it. The novel is about his healing process, which makes it sound rather sentimental. This is the opposite. It’s very funny and insightful, great characters, an accurate depiction of the haunted-quality of post-breakup life, where everything everywhere reminds you of that person. I was surprisingly very moved by the ending. It’s terrific!

69. The Melancholy of Resistance, by László Krasznahorkai
Béla Tarr turned this masterpiece of Hungarian literature into the film Werckmeister Harmonies (which, turns out, I wrote about here). I’d only seen the film, not read the book. The book is about a circus that comes to town, a circus with a huge rotting whale in a trailer, the main attraction. Is the circus just a circus though? Or is it a harbinger of something else? Chaos? Mob rule? The circling of the planets makes an appearance: something cosmic is happening. The book is written with no paragraph breaks. Almost 400 pages of text, with no breaks except for chapter breaks. RIGOROUS. I did a lot of rigorous reading this year. I need to keep SHARP. This is scary brilliant, especially when you consider the time in which it was published – the late 80s – and it continues to have resonance today: the forces of chaos unleashed on streets, the breakdown of society, the feeling of threat, the crushing of the individual, the hopelessness of any meaningful change in how we deal with living together on this planet … It’s heavy.

70. Chaim Soutine: Genius, Obsession, and a Dramatic Life in Art , by Celeste Marcus
Celeste Marcus is the managing editor of Liberties magazine, and the editor of my column, which I will get back to in 2026 after my “leave of absence”. This is her first book, on the French-Jewish artist Chaim Soutine. Celeste is a painter herself and she poured her knowledge of paint and color into this fascinating biography, the first English-language biography of this major figure. I learned a lot! Congratulations, Celeste. Her book and mine came out on the same day.

71. Thought Reform and the Psychology of Totalism: A Study of Brainwashing in China, by Robert Jay Lifton
More light reading. Robert Jay Lifton is still alive, still writing, and still using his vast experience studying brainwashing (what he calls “thought reform”) to understand what is happening now. This is the start of it all. Published in 1960, it’s based on his large study of first POWs from Korea, but then Westerners and Chinese intellectuals, who experienced thought reform in the “revolutionary colleges” in Communist China. Lifton is a psychiatrist and became interested in the phenomenon, the nuts and bolts of it. His work has been used as a reference point ever since, every time a cult emerges and its members do some crazy shit. He broke down what needs to be present for successful “thought reform” into eight criteria. As someone who’s been reading about cults for most of my life at this point, Lifton comes up constantly and I can rattle off his eight criteria by heart but I had never actually read the TOME – and it is one – from whence it all came.

72. Grief Is the Thing with Feathers, by Max Porter
I re-read this slim emotional book in preparation for reviewing the film, which I did not care for at all, mainly because the director’s adaptation left out the whole central metaphor … the freakin’ CROW. I mean, the crow is present but the director has excised the scaffolding, which is the crow is Ted Hughes’ crow, stepping out of the poet’s famous 1970 collection. The main character, a grieving widow, is a Hughes scholar – in the book, that is. Like, why even adapt the book to film if you’re going to leave Ted Hughes out of it? You can read this in an afternoon. Our family has dealt with a lot of grief in the last five, ten years. The book comes out of Porter’s own experience (his father died when he was a child), and it’s about the confusion and chaos of grief. It brought me to tears.

73. Adriatic: A Concert of Civilizations at the End of the Modern Age, by Robert D. Kaplan
Kaplan again! Here, he travels from Ravenna down to Corfu. I’ve got the travel bug again and this is the area of the world I want to go to (again). I won’t say where but I planned my itinerary and now I just need to plan for it, and how I am going to do it. I’ve been wanting to get back to Zagreb, which I loved – even though I was there for less than a day. My experience of it was “I have to come back here!” It’s also a good jumping-off point for all of these other places. Anyway. Loved it.

74. The Chronology of Water: A Memoir, by Lidia Yuknavitch
I read this astonishing book when it first came out. It’ll blow your hair back. I re-read before watching Kristen Stewart’s film adaptation, which I reviewed. I’ve had two proud moments this year (well, besides the obvious). Greil Marcus sent me an email complimenting me on my essay about Marion Keisker and Elvis. !! And he knew Marion. He told me he learned some new things from the piece I wrote. Then he sent me an advance copy of the 50th anniversary edition of Mystery Train, where – cherry on top – he said he was just sorry he hadn’t read my piece in time, because he would have liked to include it in the “notes” section for the Elvis chapter. Listen, this is why I do what I do. You can’t PLAN for something like that, you just have to follow your own star and keep doing your thing. That piece was ignored by my fellow critics, like nobody cared about it. I was a little hurt because I had been wanting to write it for years. Whatever. I got it out there into the world and I pleased myself, which is most important. Cut to: a year later – I hear from the legend himself. So I guess I was writing it for HIM and I didn’t even know it. The second proud moment was Lidia Yuknavitch writing a little Facebook post about my review, saying I didn’t just write the review – I “inhabited” it. I said in my review that Stewart “gets it” and Yuknavitch made the connection to me: “Sheila gets it.” Listen, it’s a cold world out there. I don’t do this for the applause of course. But to have something I wrote – get to the source – to have the source herself link to it – the only review she linked to – well, that’s something. I’m proud.

75. Venus and Adonis, by William Shakespeare
Okay are we ready for the Shakespeare journey? I started with the poems. I haven’t read these since the one Shakespeare class I took in college. I learned Shakespeare the best way possible: through trying to act it in acting classes. I think it’s ideal. I’m not as familiar with his long poems, so it was fun to read. Venus is so butch, and Adonis is so femme. Shakespeare’s ideal human is a mix of both: this theme comes up again and again and again.

76. Ice, by Anna Kavan
A sci-fi classic which I never read. It’s eerie and scary. Ice is covering the world and civilization has broken down. A man goes on a quest to find a girl with silver-white hair, he tracks her to a remote cottage, a ruined city, a walled fortress, she’s always just out of reach. Depressing. Beautiful writing.

77. The Rape Of Lucrece , by William Shakespeare
This poem is so long, and the lead-up to the main event is so prolonged, I found myself thinking at one point, “Tarquin, just rape her already so we can move along with the story.”

Happy new year.

2025 tally
23 fiction
5 poetry
43 non-fiction
14 essay collections
5 plays
31 books by women
47 books by men
20 rereads
(I count by books, not author. If the same author appears multiple times, I count the author each time)
Countries represented: Ireland, England, Poland, Czechoslovakia, Portugal, Russia, Croatia, Austria, Scotland, Germany, Spain, Hungary, France.

Previously
2024 books read
2023 books read
2022 books read
2021 books read
2020 books read
2019 books read
2018 books read
2017 books read
2016 books read
2015 books read
2014 books read
2013 books read
2012 books read
2011 books read
2010 books read
2009 books read
2008 books read
2007 books read
2006 books read
2005 books read

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Books | Tagged Anton Chekhov, Austria, books read, Charles Lamb, children's books, Croatia, Czechoslovakia, Czeslaw Milosz, David Lynch, Dubravka Ugrešić, England, essays, fiction, France, Frankenstein, Germany, Guillermo del Toro, Hungary, Ireland, Jane Austen, Janet Malcolm, John Keats, Lord Byron, Mark Danielewski, Mary Gaitskill, Mary Shelley, Matthew Arnold, Memoirs, nonfiction, Oscar Wilde, poetry, Poland, Rebecca West, Roald Dahl, Robert Kaplan, Robert Louis Stevenson, Russia, sci-fi, Scotland, scripts, Shakespeare, Spain, The Beatles, Twin Peaks, Yugoslavia | Leave a comment

“Everything I know I taught myself.” — Bo Diddley

Bo Diddley was born in 1928, the son of sharecroppers. In 1979, he opened for the freakin’ Clash on their American tour. A lot of shit happened in between and it’s the story of the 20th century! Diddley had a mechanical mind and he built what he wanted to use, pushing technology forward into new arenas. If something didn’t produce the sound he wanted, then he would build whatever it was so he could get the right sound. He built his guitar. Which we saw on display at the Met. Instantly recognizable as his.

He built one of the first tremolo systems – out of old junk he found – literally scraps. Because of this, he sounded like nobody else. What he was doing was un-replicatable with the technology of the time. He stood out. And his sound still stands out. You’d never mistake his sound for anyone else’s.

I really appreciate Andrew Hickey’s 500 Songs podcast and his observation that the Everly Brothers took much of their guitar playing styles from Diddley. This obviously isn’t just HIS observation, but it’s where I first heard it. Diddley’s influence is hard to measure: he’s everywhere. Not too many people born in 1928 were touring with the Clash 50 years later. But I love the Everly Brothers and hadn’t clocked the “nod”, even though I should have, and now feel a little silly because it’s so obvious. There’s a heavy chug-a-chug sound in Diddley’s guitar, a choppy-chunking sound – repetitive, but it works beCAUSE it’s repetitive. This is the same sound the Everly brothers made. Diddley’s sound is so distinct it’s named for him – “the Bo Diddley beat.” Once you hear it, you can’t un-hear it. Found a great piece about the Bo Diddley Beat.

Diddley loved all music, gospel, country, rhythm and blues. You can hear the mix in all of his stuff. But he also wove in African folklore, Black American folklore/myths, vaudeville, inherited jokes … he brought it all into play. Like in “Say Man”. (You can hear his influence on Johnny Cash!)

His first hit was called …. “Bo Diddley”. (There are varying stories of how Elias Bates got his stage name. One intriguing theory is he named himself after Beau Diddley, a character in a Zora Neale Hurston story.) It’s the birth of the “Bo Diddley Beat”. He was signed to Chess records, so there was a lot of power and influence behind him. “Bo Diddley” was a hit. It still sounds like a hit. He performed it on the Ed Sullivan Show.

There’s a famous story about a confrontation Ed Sullivan and Diddley had backstage, when there was (understandable) confusion about what Diddley was going to perform on the show. The instructions were unclear. Diddley thought they wanted one thing, Sullivan and producers wanted another, and so when Diddley did his thing, it appeared to Sullivan et al as though he were going rogue. The confrontation was heated, and Diddley paid a price. Word got around. That clip is all we have of early Diddley. Chess got a little scared, and put their weight behind other performers … people who, presumably, wouldn’t scream at Ed Sullivan. It’s not fair. He was confused. I’d have been confused too. You tell me one thing, I assume what you mean, I follow your orders, and now you get pissed and say “that’s not what we meant”? Not fair.

His next hit was a monster – to this day – “I’m a Man”. The song was written in response to Muddy Waters’ “Hoochie Coochie Man”, a great record:

Diddley used a lot of the conceits, you can hear it in the lyrics, but musically he pared it down (and Waters’ was already pared down). Diddley got rid of as many chords as he could. It’s stripped bare. It’s just those main chords, the blues chord changes, over and over and over … and it has this tense feeling of inevitability, a power that builds and builds … There isn’t much to it. There doesn’t NEED to be “more to it”. Because LISTEN to this beast.

“I’m a Man” spawned a whole cottage industry of covers and responses. The song is a challenge (or, you can look at it as a challenge). Diddley declaring “I’m a man. M. A. N.” brought on reactions like, “Oh yeah? I’M the man.” The song was covered countless times and it’s one of the classic blues tracks – and that opening da-DA-duh-dum (chug- chug- chug) da-DA-duh-dum (chug chug chug) is sampled in more movies than I can even count. (In Paul Schrader’s great Blue Collar, the startling opening credits sequence is a work of art in and of itself, with shots of the factory work and workers – freeze framed – all timed to the opening song, Captain Beefhearts “Hard Workin’ Man,” where some of the accompaniment is the actual clanking of the machinery. The song is almost an exact duplication of “I’m a Man” – they didn’t want to pay Diddley for the rights. But you hear this, and you know the origin without even being told the story.

A lot of Diddley’s peers either died in obscurity or faded out, derailed by poverty or alcoholism or drugs. He was 10 years older than the rockabilly class, and his innovations inspired everyone. The British invasion couldn’t have happened without Diddley. Any little kid who wanted to be a guitarist in the 50s heard Diddley and tried to duplicate the sounds he was making. They failed. How is he doing that?? they agonized.

Well, he built his guitar to fit out of cigar boxes and wood. He built his own sound system. He cared about what he put out there, he cared about whatever he did: a song had HIS name on it. He was not an obedient employee. He was a mechanic and a seer. For him, it would be about the sound. It was always about the sound.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Music, On This Day | Tagged Bo Diddley | Leave a comment

“Carelessness on the part of revolutionaries has always been the best aid the police have.” — Victor Serge

Ever since my late-in-the-day discovery of Victor Serge (whose birthday it is today), a man I should have discovered much MUCH earlier, considering my interest in totalitarian regimes / dissident voices / revolution / Russia – I have read as much as I could. It’s the least I can do since Victor Serge was the man who first coined the term “totalitarian”.

You read the bare bones of Victor Serge’s life and a couple of things come to mind.

1. Let me get this straight: all of this happened to one man?

2. Okay so it all happened to him, fine. How did he find the time to write books?

Therein lies the mystery but it isn’t really a mystery. Serge spent the majority of his life on the run, from various murderous regimes. He was in a POW camp, he was exiled to Siberia, he was in prison many times, he fled, to France, and then to Mexico, clutching his notebooks in grubby bags, fearful of them being confiscated, which of course much of it was. His work told all the secrets of the Bolshevik power-grab, and it was even more powerful because he was one of them. He was viewed as an “apostate”, a “heretic”, a clue to the Messianic ideology.

And he may very well may be the first person (on record, at least) to recognize that the glorious Revolution was not only not going as planned, it was being crushed by the very people he fought alongside to bring about change. What was supposed to be a collective experience was – in actuality – the perfect set-up for the Strong Man. George Orwell saw this in the ’30s. Serge saw it in the early ’20s – extraordinary – and he saw it from within the Winter Palace. Extraordinary.

More about Victor Serge after the jump:

Continue reading

Posted in Books, On This Day, writers | Tagged fiction, Memoirs, nonfiction, Russia, Victor Serge, war | Leave a comment

“Be open to change. Allow yourself to be revised.” — Maggie Smith

Whatever I say here cannot compete with my friend Dan Callahan’s superb tribute over on Ebert. He knows her and her way of working and her response to life (a NEGATIVE response) better than anyone. He devoted a chapter to Smith in his amazing book The Art of American Screen Acting (I interviewed him about it here).

I wrote this a while back but I will share it today on what was Maggie Smith’s birthday.

Smith’s performance of Alan Bennett’s 49-minute monologue called Bed Among the Lentils is one of the best performances I have ever seen. Period.

It is done direct to camera and is an astonishing piece of work. As I watched, time stood still. I feel like I didn’t even blink. I couldn’t breathe. The character’s misery and bitterness was stultifying. Crucially, and this is a very Maggie Smith “fingerprint” (if such a dazzlingly versatile actress can have a fingerprint), there is a total lack of catharsis. Maggie Smith was TOUGH. There is no leakage for her own/the audience’s comfort. Near the very end, there’s a tiny glimmer of her sense of loss. It’s just a glimpse, though. The character wouldn’t give you the satisfaction of seeing more than that.

Smith, with her impeccable technique, gives you just a tiny glimpse of the character’s interior world, and you, the audience member, are wrecked. She shows a little bit of what’s there, and you feel ALL of it. This is what total control looks like. Amateurs are not capable of what Smith does here, with text, subtext, gesture (the moment above with the water glass), backstory (even if not expressed), vocal technique – everything. And yet you don’t feel the control. Her control/technique is invisible. You don’t “see the work”. Smith is like De Niro in that way. Pacino in The Godfather. The character isn’t expressive. Therefore the actor isn’t either. The work has been done so you can feel all this STUFF going on inside, but none of it actually comes out. If Smith had lost control of her technique and broken down into stormy sobs during the monologue, allowing herself to express the underlying emotion, it would be a very different experience. Strangely, catharses sometimes alienate audiences. The actor feels so much there’s little room left for the audience to feel.

Civilians (and this includes many critics) are too impressed by the presence of tears, mistaking visible tears for excellent acting. This reminds me of a story my friend Shelagh told me years ago. Shelagh was in an acting class and a girl was up there doing a monologue, and my GOD she was feeling things. You could see her emotions from the space station. Credulous critics are bowled over by tears because it seems like a magical ability to produce actual tears in a make-believe situation. But it’s not magic. The sobbing student finished the scene and after a long pause the teacher said, “You were feeling everything and I am …. curiously unmoved.”

In Bed Among the Lentils, the character is a very unreliable narrator. The only emotion visible to the naked eye is a coiled contempt swimming in a sea of existential boredom. This toxic brew is the only thing she allows others to see … but then … over the course of the monologue, her rigid facade starts to (very subtly) disintegrate. Only once does she let you see what her public persona is hiding. We may have perceived it all along, misery emanates off her in waves, but the character will be damned if she lets you see any of it.

When the feeling rises in her like a volcano, surprising her as well as us, it’s shattering.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Actors, On This Day, Television | Tagged Maggie Smith | 15 Comments

“Everything we ever did was just spur of the moment.” — Scotty Moore

p18708y4197

“Scotty Moore was my hero. There’s a little jazz in his playing, some great country licks and a grounding in the blues as well. It’s never been duplicated. I can’t copy it.” — Keith Richards

It’s the birthday of Scotty Moore, Elvis’ first guitarist, who played on all of the Sun tracks, who then moved on to RCA with Elvis, and then on to Hollywood (Elvis was loyal). He died in 2016 at the age of 84. His style was influential and – like all great guitarists – “he” is unmistakable: you can recognize him by his playing. Here is the Rolling Stone obituary for Moore, which gives a good overview of his near-century upon the earth.

Moore was inducted into the Rock and Roll Hall of Fame in 2000 as part of the inaugural class celebrating sidemen, a category that honored “those musicians who have spent their careers out of the spotlight, performing as backup musicians for major artists on recording sessions and in concert.”

He sits there on that crowded little stage in Elvis’ 1968 comeback special.

The two hadn’t seen one another in years. (Eventually, the Hollywood thing – and being a studio musician for all the soundtracks – was too much of a drag and Scotty moved on. Elvis had Scotty – and DJ Fontana – his original drummer – come back for the TV special. Bill Black, the original stand-up bass player, had died just 3 years before. There’s the moment where Elvis “spontaneously” (please. He always knew exactly what he was doing and why) asks Scotty if they can switch guitars. Elvis had been playing acoustic, and Scotty had his gleaming ’64 Gibson. Elvis wanted to be plugged IN, man. (Peter Guralnick is wonderful on this moment in his Elvis biography: how much it blew everyone’s minds to see Elvis playing electric guitar). And of course, Scotty was a way better guitarist than Elvis, but in the context of the 68 comeback special, it doesn’t matter.

Scotty Moore’s website, by the way, is a treasure-trove of information. This page on his 1963 Gibson guitar is a prime example.

Scotty Moore was such a legend that guitar players from all over the world would make pilgrimages to see him, to talk with him, to play with him.

fdfrefdrj

Listen to Elvis’ first track, “That’s All Right,” recorded on the fly, practically, based on Elvis goofing around in between recording. This is the track that shook the world, that started it all, and listen to what Scotty’s doing in the background. Elvis really couldn’t play the guitar, beyond rudimentary strumming. Scotty’s presence was essential.

After they recorded that song on July 5, 1954, Scotty remarked, “They’re gonna run us out of town for that one.” He knew. He knew they were onto something BIG.

Mark Knopfler, who – along with Eric Clapton, Albert Wood, and a couple of others – did a concert with Scotty Moore (one clip to follow), was interviewed about Scotty Moore.

From Keith Richards’ great autobiography Life, on the first Elvis Sun tracks:

That Elvis LP had all the Sun stuff, with a couple of RCA jobs on it too. It was everything from “That’s All Right,” “Blue Moon of Kentucky”, “Milk Cow Blues Boogie.” I mean, for a guitar player, or a budding guitar player, heaven. But on the other hand, what the hell’s going on there? I might not have wanted to be Elvis, but I wasn’t so sure about Scotty Moore. Scotty Moore was my icon. He was Elvis’s guitar player on all the Sun Records stuff. He’s on “Mystery Train”, he’s on “Baby Let’s Play House”. Now I know the man, I’ve played with him. I know the band. But back then, just being able to get through “I’m Left, You’re Right, She’s Gone”, that was the epitome of guitar playing. And then “Mystery Train” and “Money Honey”. I’d have died and gone to heaven just to play like that. How the hell was that done? That’s the stuff I first brought to the johns at Sidcup, playing a borrowed f-hole archtop Höfner. That was before the music led me back into the roots of Elvis and Buddy – back to the blues.

To this day there’s a Scotty Moore lick I still can’t get down and he won’t tell me. Forty-nine years it’s eluded me. He claims he can’t remember the one I’m talking about. It’s not that he won’t show me; he says, “I don’t know which one you mean.” It’s on “I’m Left, You’re Right, She’s Gone.” I think it’s in E major. He has a rundown when it hits the 5 chord, the B down to the A down to the E, which is like a yodeling sort of thing, which I’ve never been quite able to figure. It’s also on “Baby Let’s Play House.” When you get to “But don’t you be nobody’s fool / Now baby, come back, baby …” and right at that last line, the lick is in there. It’s probably some simple trick. But it goes too fast, and also there’s a bunch of notes involved: which finger moves and which one doesn’t? I’ve never heard anybody else pull it off. Creedence Clearwater got a version of this song down, but when it comes to that move, no. And Scotty’s a sly dog. He’s very dry. “Hey, youngster, you’ve got time to figure it out.” Every time I see him, it’s “Learnt that lick yet?”

Happy birthday to one of the greatest sidemen of all time.

a32e03f11d2f6eb4c777d1e01ef1528f

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Music, On This Day | Tagged Elvis Presley, Sun Records | 7 Comments

“In America, sex is an obsession, in other parts of the world it’s a fact.” — Marlene Dietrich

I knew why I love taxis, yes
subways are only fun when you’re feeling sexy
and who feels sexy after The Blue Angel
well maybe a little bit
— Frank O’Hara

It’s Marlene Dietrich’s birthday today.

When I interviewed Dan Callahan about his book The Art of American Screen Acting, we discussed Marlene Dietrich. He has been obsessed since college, and also obsessed with trying to put her into words. What exactly is she doing. Why does she get the effects she does? HOW does she do that? Movie magic, okay. Collaboration with Josef von Sternberg, a director absolutely OBSESSED with her, obsessed to the point of emotional torture. Okay. He set her up properly so she could be perceived. But she’s DIFFERENT from other stars of her day (well, they were all different from each other. Now, so many “stars” have a sameness to them. They can interchange roles. Back in the day, though, you couldn’t put Barbara Stanwyck in a Greta Garbo vehicle. You couldn’t swap out Marlene Dietrich for Katharine Hepburn. Or Irene Dunne. These women were all versatile – Stanwyck perhaps most of all – but before all of that, they were individuals. They were “themselves”, at least personae-wise. I call them “thoroughbreds of personality”.)

At any rate, I think Callahan’s chapter on Dietrich in his book is a major piece of writing, very important, and essential to contextualizing Dietrich, since he comes at it from a performance standpoint. He refers to her as “postmodern”. Almost like it’s all a big joke, and the joke is on us. It’s all a put-on, a gag, and we are the only ones taking it seriously. (“I never ever took my career seriously,” Dietrich said.) But don’t take my word for it. Read his book.

Here’s our interview. It’s a doozy.

And just for fun, here she is with John Wayne. Their affair was crazy and on his death bed he – a man who loved sex – admitted she was the best sex he ever had. I mean … obviously.

Marlene Dietrich was one of the great sexual personae, to borrow Camille Paglia’s phrase, and remembering Paglia’s idea that all the great movie personae were (and are) androgynous, an idea Dan discusses as well. Dietrich was openly bisexual (“Sex is much better with a woman, but then one can’t live with a woman!”) and didn’t see the big deal about … any of it, really. This set her apart from American audiences and America in general (see the quote in the header).

There is the woman and then there is the actress, and there isn’t quite as stark a division in any of the other great classic stars as there are in Dietrich. She talks about how “the legs” were used in film, or “the body”, and she is referring to herself. It just had nothing to do with her, in her mind. She talked about Josef von Sternberg like he was a tyrant, but also as the man who made her. She just did what he told her to do. He told her to count to herself during pauses. So there she is, looking all mysterious and glimmering with intrigue, when all along all she’s doing is thinking “One … two … three … four …”

I think it was Steven Spielberg who said that the camera loves nothing more than to watch a person thinking. And the trick is: it honestly doesn’t matter WHAT you think. As long as you are thinking SOMEthing other than “How am I sounding? How am I doing? How do I look?” Those are actor thoughts. Think ANYthing.

So Marlene Dietrich counted silently in her head and audiences have been enraptured for 80 years, wondering what the hell she’s thinking. That’s movie magic.

The Blue Angel
by Allen Ginsberg

Marlene Dietrich is singing a lament
for mechanical love.
She leans against a mortarboard tree
on a plateau by the seashore.
She’s a life-sized toy,
the doll of eternity;
her hair is shaped like an abstract hat
made out of white steel.
Her face is powdered, whitewashed and
immobile like a robot.
Jutting out of her temple, by an eye,
is a little white key.
She gazes through dull blue pupils
set in the whites of her eyes.
She closes them, and the key
turns by itself.
She opens her eyes, and they’re blank
like a statue’s in a museum.
Her machine begins to move, the key turns
again, her eyes change, she sings.
—you’d think I would have thought a plan
to end the inner grind,
but not till I have found a man
to occupy my mind.


Marlene Dietrich’s screen test for The Blue Angel

“I’m not an actress — I’m a personality.” — Marlene Dietrich

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Actors, Movies, On This Day | Tagged Germany, Josef von Sternberg, Marlene Dietrich | Leave a comment

“The realization of ignorance is the first act of knowing.” — Jean Toomer

Poet/novelist Jean Toomer was born on this day in 1894. He died in 1967. He saw some shit.

Toomer’s family tree encompasses the diversity of pre-and-post-Civil War South: slaves, freemen, black, white. His father, Nathan Toomer, was born into slavery. After the war Nathan continued working for his former master, taking the man’s last name. Nathan married multiple times. His third wife – Nina Elizabeth Pinchback – was Jean Toomer’s mother. Nina’s father was mixed race, and raised by his white planter father. This man eventually became governor of Louisiana (the first Black person in the United States to serve as a governor). I’m just listing all this because it shows the cultural faultlines on which Toomer stood. During the Reconstruction era, Democrats made ominous inroads, establishing what would be known as the Jim Crow laws. Toomer’s parents got the hell out of Louisiana and moved to D.C., where they joined the community of wealthy people of color. By this point, Jean had been born. And Nathan promptly abandoned his wife and child. This event had a huge impact on young Jean, intensified by the issue of his name. Jean Toomer’s birth name was Nathan Pinchback Toomer, but his mother’s family refused to call him “Nathan” (they disapproved of Nathan Senior), and instead called him “Eugene” (his godfather’s name). He only “became” Jean Toomer when he started getting published. His pen name was free of inherited baggage.

There are interesting questions of identity through all of this. Identity is a hundred little tributaries all coming from different sources eventually pouring into the same river. Identity is turmoil. Not everyone is one thing. Add to this inner turmoil the era in which it happened, the events shared by the generation who came of age in and around WWI, who experienced the birth of Modernism, the Harlem Renaissance, etc.

Toomer attended some all-white schools and some all-black schools. There has been recent commentary about whether or not he could pass as white, and the degree to which he used this “advantage”. He did not want to identify himself either way. He said, over and over again, that he wasn’t black, he wasn’t white. “American” was how he identified. You can see how this wouldn’t fly in certain contemporary circles, but consider the context. He never got a degree, but he studied widely. He worked as a school principal in Georgia, where he witnessed racism to a degree he hadn’t seen before, at the same time he discovered the degree to which he could “pass.” His perspective was always slightly askance and this would inform his writing. While in Georgia, he wrote a series of short impressionistic pieces which would eventually turn into his novel Cane, published in 1923. (One of Toomer’s idols was T.S. Eliot, and The Waste Land – published in 1922 – had a clear influence on Cane.

Cane was well-received, by black critics and white, although its stature wasn’t immediately acknowledged. (It’s now regarded a Modernist classic.) Langston Hughes recognized immediately what Cane was, and name-checked it in his manifesto “The Negro Artist and the Racial Mountain.” Hughes theorized one of the reasons the book was ignored – or at least not embraced – is it did not present the “Negro” as white Americans imagined him. Toomer’s vision was three-dimensional. Toomer was not just one thing: he was rural AND he was Jazz Age urban. Critics had a hard time reconciling these two things, they preferred stricter labels (audiences did too).

Cane was a swan-song. It was a song of an end.” — Jean Toomer

In Cane, America is the Southern farmlands and the northern cities, and these geographical areas weren’t separated, there was movement between the two. Industrialization wreaked havoc on the South, putting everything into flux, class, race, sexuality. Cane has the fragmentation of High Modernism, with its blend of narrative and documentary, its fluidity of styles (prose and poetry, vignettes, ballads), all of which give a panoramic view of America as seen through the eyes of someone like Toomer who had lived in the deep South, lived up North, experienced the South through Northern eyes, while not really being a part of either. When the publisher asked Toomer to mention his exact racial makeup for the author’s bio, Toomer was outraged. He was conflicted on the American insistence on prioritizing race, even if it was in a complimentary way (“he is the best Negro writer today,” etc.)

Toomer found the American focus on race stifling. He moved to France to study with spiritual guru George Ivanovitch Gurdjieff, a big influence. In the late 1930s, predating the Beats’ spiritual quests by 20+ years, Toomer traveled to India seeking spiritual enlightenment. In the early 30s, he married Margery Latimer, a well-known novelist and feminist, who happened to be white. Their marriage received a lot of vicious press: Black people considered it a betrayal, whites considered it miscegenation. You can kind of see why Toomer’s overall attitude was, “The hell with all of you.”

His spiritual quest led to him becoming a Quaker.

Here’s one of the most famous passages from Cane, a poem called “Harvest Song.” This is from the Southern-rural section, with its rhythm of slave songs and spirituals, the repetitive gestures of planting reflective in the rhyme. After this, I’ll post something from the Northern-urban section so you can see the difference in style.

Harvest Song

I am a reaper whose muscles set at sun-down. All my oats are cradled.
But I am too chilled, and too fatigued to bind them. And I hunger.

I crack a grain between my teeth. I do not taste it.
I have been in the fields all day. My throat is dry. I hunger.

My eyes are caked with dust of oat-fields at harvest-time.
I am a blind man who stares across the hills, seeking stack’d fields
of other harvesters.

It would be good to see them . . . crook’d, split, and iron-ring’d handles
of the scythes . . . It would be good to see them, dust-caked and
blind. I hunger.

(Dusk is a strange fear’d sheath their blades are dull’d in.)
My throat is dry. And should I call, a cracked grain like the oats
. . . eoho—

I fear to call. What should they hear me, and offer me their grain,
oats, or wheat or corn? I have been in the fields all day. I fear
I could not taste it. I fear knowledge of my hunger.

My ears are caked with dust of oat-fields at harvest-time.
I am a deaf man who strains to hear the calls of other harvesters whose
throats are also dry.

It would be good to hear their songs . . . reapers of the sweet-stalked
cane, cutters of the corn . . . even though their throats cracked, and
the strangeness of their voices deafened me.

I hunger. My throat is dry. Now that the sun has set and I am chilled.
I fear to call. (Eoho, my brothers!)

I am a reaper. (Eoho!) All my oats are cradled. But I am too fatigued
to bind them. And I hunger. I crack a grain. It has no taste to
it. My throat is dry . . .

O my brothers, I beat my palms, still soft, against the stubble of my
harvesting. (You beat your soft palms, too.) My pain is sweet.
Sweeter than the oats or wheat or corn. It will not bring me
knowledge of my hunger.

Seventh Street

Money burns the pocket, pocket hurts,

Bootleggers in silken shirts,
Ballooned, zooming Cadillacs,
Whizzing, whizzing down the street-car tracks.

Seventh Street is a bastard of Prohibition and the War. A crude-boned, soft-skinned wedge of nigger life breathing its loafer air, jazz songs and love, thrusting unconscious rhythms, black reddish blood into the white and whitewashed wood of Washington. Stale soggy wood of Washington. Wedges rust in soggy wood. . . Split it! In two! Again! Shred it! . . the sun. Wedges are brilliant in the sun; ribbons of wet wood dry and blow away. Black reddish blood. Pouring for crude-boned soft-skinned life, who set you flowing? Blood suckers of the War would spin in a frenzy of dizziness if they drank your blood. Prohibition would put a stop to it. Who set you flowing? White and whitewash disappear in blood. Who set you flowing? Flowing down the smooth asphalt of Seventh Street, in shanties, brick office buildings, theaters, drug stores, restaurants, and cabarets? Eddying on the corners? Swirling like a blood-red smoke up where the buzzards fly in heaven? God would not dare to suck black red blood. A Nigger God! He would duck his head in shame and call for the Judgement Day. Who set you flowing?

Money burns the pocket, pocket hurts,
Bootleggers in silken shirts,
Ballooned, zooming Cadillacs,
Whizzing, whizzing down the street-car tracks.

QUOTES:

Langston Hughes, from his “The Negro Artist and the Racial Mountain”:

“O, be respectable, write about nice people, show how good we are,” say the Negroes. “Be stereotyped, don’t go too far, don’t shatter our illusions about you, don’t amuse us too seriously. We will pay you,” say the whites. Both would have told Jean Toomer not to write Cane. The colored people did not praise it. Although the critics gave it good reviews, the public remained indifferent. Yet (excepting the works of Du Bois) Cane contains the finest prose written by a Negro in America. And like the singing of Robeson it is truly racial.”

Jean Toomer:

I realized with deep regret, that the spirituals, meeting ridicule, would be certain to die out. With Negroes also the trend was towards the small town and then towards the city—-and industry and commerce and machines. The folk-spirit was walking in to die on the modern desert. That spirit was so beautiful. Its death was so tragic. Just this seemed to sum life for me. And this was the feeling I put into Cane. Cane was a swan-song. It was a song of an end.

Camille Paglia, Break Blow Burn on “Georgia Dusk”:

The scene is the Deep South in the early twentieth century. The Civil War has receded in time, but its painful legacy remains. Black Americans, now emancipated day laborers, are making their way through an uncertain and still dangerous world. The “Georgia dusk” of Toomer’s title is a moral twilight: fantasies and delusions linger from the antebellum Old South with its genteel, chivalric dreams (compare the sun’s “tournament for flashing gold”. But the tranquil rural routine is marred by bursts of brutality and barbarism: “a feast of moon and men and barking hounds.” Dogs once tracking escaped slaves have become jeering mobs who burn and lynch for sport. It’s a holiday “orgy,” a sadistic mass entertainment. But darkness brings terror for those who are not guests but ritual victims, the main course at the “night’s barbecue.”

Robert Littell, 1923 review of Cane:

Cane does not remotely resemble any of the familiar, superficial views of the South on which we have been brought up. On the contrary, Mr. Toomer’s view is unfamiliar and bafflingly subterranean, the vision of a poet far more than the account of things seen by a novelist.”

Jean Toomer, letter to his brother:

From three angles, Cane‘s design is a circle. Aesthetically, from simple forms to complex ones, and back to simple forms. Regionally, from the South up into the North, and back into the South again.

Camille Paglia, Break Blow Burn on “Georgia Dusk”:

The voice of Toomer’s rueful pastoral is itself a victory over grim reality. After the unsettling opening stanzas, with their hallucinatory assault on the senses, the mood is one of hushed relaxation. The easy, regular rhythms (helped along by the sixth stanzas’s swatches of exapnsive dots) gradually slow our pulse until we attain a meditative serenity. Like Blake’s “London,” “Georgia Dusk” sets anonymous members of the working class against an epic sweep of nature and history. But it exorcises resentment: Toomer will not rage or condemn. As they break for the night, his singers enter an enchanted mental zone where spirit and sensuality commingle. With its strict rhyme scheme and courtly, flowery diction, “Georgia Dusk” more resembles Victorian than modernist poetry. Its style too is enticingly “cane-lipped,” meshing with the spontaneous music making of its stoical, questing characters.

Introduction to the Norton Anthology of Modern Poetry:

Other African American poets drew simultaneously on the techniques of Euro-American modernism and of black “folk” culture. In poems of the loosely knit collection Cane (1923), Jean Toomer pays homage to a disappearing African American way of life in the rural south, drawing on the ritualistic repetitions of black oral culture. Sometimes, Toomer takes up and recasts Imagist technique in free verse poems of metaphoric juxtaposition: “Portrait in Georgia” begins, “Hair–braided chetnut, coiled like a lyncher’s rope,” and continues to oscillate violently between a description of a white woman’s face and the lynching of a black man.

Camille Paglia, Break Blow Burn on “Georgia Dusk”:

The main body of “Georgia Dusk” is neatly structured in three groups of linked stanzas. In the first pair of stanzas, the panorama of nature “darkens” and contracts to ominous intimations of passion and confusion. The second pair is set at the sawmill; the third, is the swamp. The concluding stanza is a valediction or blessing, like the climax of Wordsworth’s “Tintern Abbey.”

Poet Kenneth Rexroth:

“Toomer is the first poet to unite folk culture and the elite culture of the white avant-garde, and he accomplishes this difficult task with considerable success. He is without doubt the most important Black poet.”

Gerald Strauss, 2008:

[Cane] is similar to James Joyce’s Dubliners (1914) and Sherwood Anderson’s Winesburg, Ohio (1919), two other thematically related story collections that develop unified and coherent visions of societies. It also echoes Edgar Lee Masters’s poetry collection Spoon River Anthology (1915) … Toomer surely was familiar with the Joyce and Masters books, and he knew Anderson personally.

(Toomer had corresponded with Sherwood Anderson.)

W. E. B. Du Bois, 1924 review of Cane:

Toomer does not impress me as one who knows his Georgia but he does know human beings…I cannot, for the life of me, for instance, see why Toomer could not have made the tragedy of Carma something that I could understand instead of vaguely guess at.”

Gorham Munson:

Toomer has founded his own speech.

Gil Scott-Heron’s “Cane” is based on two of the characters in Toomer’s novel:

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Books, On This Day, writers | Tagged Camille Paglia, fiction, Harlem Renaissance, Langston Hughes, poetry | 1 Comment

“I have respect for my profession. I worked hard at it.” — Humphrey Bogart

What an unlikely movie star, on the face of it. Consider the face. The face is now iconic, and “movie star” makes total sense in retrospect. He feels inevitable. But in the ’30s there was no prediction that he would become who he would become. He was short and balding. He had a speech impediment. His looks were not sleek or smooth, as was the trend at the time for men. He got his start in movies playing heavies. Gangsters and bad guys. Pre-Code prohibition-era crime movies usually feature a scene where Bogart is shot dead. In retrospect (again), the ’30s were the perfect time for him to “come up” because crime movies were in, gangsters and bootlegging, dingy rooms, guns. He worked all the time. But “working all the time” does not an iconic movie star make. So let’s look at how this happened.

It begins with the 1934 Broadway production of The Petrified Forest, by Algonquin Round Table member, two-time Pulitzer Prize winner, and one-time Academy Award winner, Robert Sherwood.

Bogart on the far left, five o’clock shadow visible from the cheap seats.

Bogart’s performance caused a sensation. Petrified Forest was not Bogart’s Broadway debut. He had played small parts before, but his reputation early on – if you can believe it – was as the youth sashaying into a parlor saying things like, “Tennis, anyone?” He played pampered prep-school boys. This might seem odd, considering his later reputation for playing no-nonsense tough men, but Bogart was born (in 1899: his fourth (and final) wife Lauren Bacall would call him “a 19th century man”) into wealth. His father was a surgeon and his mother was a commercial art illustrator, and eventual fashion magazine editor. Very accomplished woman. And unusual to be a working mother in the early 1900s. Humphrey Bogart grew up with wealth and privilege, and maybe it “showed” early on, and so he was cast accordingly, as un-interesting wealthy youths. When Petrified Forest came along, he was a known figure to Broadway audiences, and so nothing could prepare them for his performance as Duke Mantee.

This was a theme in Bogart’s life: the shifting personality, the experimentation with his strengths, finding what would “hit” an audience, and the public’s perception changing as he took on deeper and better parts. It’s hard to imagine Bogart saying, “Tennis, anyone?” now.

Petrified Forest launched him into the realm of serious Hollywood players when the celebrated Broadway production was turned into a film. Leslie Howard, the star of Petrified Forest, was a much bigger star than Bogart, and insisted Bogart reprise his role in the film. The character of Duke Mantee is a psychopath. In the film, Bogart seems like an emissary from the future (if you compare to how other “villains” were played at that time). Duke is irredeemable. Bogart does not soften Duke Mantee. You can’t take your eyes off of him. Bogart worked hard on the role, creating Duke from the ground up – how he walked, talked, how he DIDN’T talk, Duke’s body language, gestures. Everything had to be perfect. Even when Duke was sitting over to the side, you kept your eye on him because you never knew what he would do next. He created a sense of tension and menace in every breath and gesture.


Bogart in the film of The Petrified Foest

After Petrified Forest, he moved into the “heavy” portion of his career. Can we count the number of times he was killed by Edward G. Robinson? He played sidekicks, like in The Roaring Twenties, with James Cagney as the lead. (The phrase “Don’t bogart the joint” – while obviously referring to Bogart’s ubiquitous cigarette – also seems to me to have as its reference the foxhole scene in Roaring Twenties, when Bogart hogs the shared cigarette).


Humphrey Bogart and James Cagney in “The Roaring Twenties”

Bogart did not move on to play leading roles after Petrified Forest. He was a perpetual second lead. He was in movies with names like San Quentin, King of the Underworld, You Can’t Get Away With Murder, Racket Busters, Crime School – typical Warner Brothers “ripped from the headlines” fare. He was shot in shabby 1920s hotel rooms, he staggered to the couch, he fell down the stairs. He was a bootlegger, a conman, a thief. He was also, incidentally, expendable. We might cry when Cagney died, but we didn’t care when Bogart died.

It’s interesting to watch these “in between” movies in the decade of the 30s, like Bullets or Ballots and others, when Bogart plays second-banana. It helps underline what might not be obvious: his giant mythic stardom was NOT guaranteed, or obvious. He was not being groomed for it, and it was not what the public wanted from him. His Duke Mantee made such a huge impression: Bogart could have had a whole career playing villains and hypnotic bad guys … but look at what happened! Look at how things shifted! Amazing!

A couple of parts paved the way for Casablanca.

In High Sierra, he plays Roy Earle, another villain, with a crucial difference in shading. In High Sierra, his criminal has a soft underbelly, a hidden tenderness. You rooted for him (in a way you did NOT root for Duke Mantee). John Huston wrote the screenplay for High Sierra (and the same year was given his first directing opportunity, The Maltese Falcon. Bogart, having already gotten to know Huston on High Sierra, decided to take a chance with the untried director, which Huston appreciated). Roy Earle in High Sierra is one of Bogart’s best roles, and it’s important as a transition in his career: we can see the other persona, the one we all now know, start to be developed: the wry-faced cynical guy, but with a mother-lode of moral character within. A crucial Bogart VIBE is his characters don’t want to be congratulated for his moral character: he’d rather you not notice it at all. In this way, Bogart resists sentimentality.


Ida Lupino and Humphrey Bogart in “High Sierra”

In High Sierra, Roy ends up doing the right thing, even though it means he’ll lose the girl. Such a departure from Duke Mantee! I love to look at a career and see fortuitous turns, turns it didn’t HAVE to take. Katharine Hepburn was a star leading lady immediately. It was instantly apparent she could never play a sidekick. As weird as she was, she had to be center stage. It was different with Bogart. You get the sense with Bogart that it might NOT have happened. Bogart was not an obvious movie star and his journey is full of accidents, coincidences, and giant leaps of faith.

His Sam Spade in The Maltese Falcon solidified his position as a valid leading man, which really worked since the story was a noir, and so his tough-ness could still operate. Whatever softness Bogart had was expressed in spite of himself and that really works for him.

The roles Bogart got after Maltese Falcon were after America’s entry into the war in Europe: Across the Pacific and Casablanca … he was now a valid lead, and one of the most compelling movie stars working at the time.


Humphrey Bogart in “The Caine Mutiny”

Later in his career, he could “experiment”, in films like The Caine Mutiny and The African Queen, not to mention the mighty In a Lonely Place. You could see it in Treasure of the Sierra Madre too. He was so good when he was close to madness, or tipping over into paranoia, mania, greed – or, In a Lonely Place – scary romantic obsession. In a Lonely Place is his very best. He has a moment where he lashes out and knocks the glasses off of his agent’s face by accident and it is painful to watch.


Gloria Grahame and Humphrey Bogart in “In a Lonely Place”

Here’s an excerpt from Nathaniel Benchley’s Humphrey Bogart about Bogart’s performance on Broadway in Petrified Forest: (KUDOS are due Leslie Howard, as is obvious in this excerpt):

When Humphrey Bogart walked onstage as Duke Mantee there was a stir in the audience, an audible intake of breath. He was a criminal; he walked with a convict’s shuffling gait, and his hands dangled in front of him as though held there by the memory of manacles. His voice was flat and his eyes were as cold as a snake’s; he bore an eerie resemblance to John Dillinger, to whom killing a person meant no more than breaking a matchstick. Sherwood’s summary of Mantee in the stage directions described Bogart perfectly: “He is well-built but stoop-sholudered, with a vaguely thoughtful, saturnine face. He is about thirty-five, and, if he hadn’t elected to take up banditry, he might have been a fine leftfielder. There is, about him, one quality of resemblance to Alan Squier [the hero]: he too is unmistakably doomed.”

The play opened at the Broadhurts Theatre on January 7, 1935, with Leslie Howard starring as Alan Squier and Peggy Conklin as Gabrielle Maple, the heroine. (For those interested in trivia, the part of Boze Hertzlinger, which had almost been Humphrey’s, was played by a youth named Frank Milan.) …

The critics threw their hats in the air. Brooks Atkinson wrote that “Robert Sherwood’s new play is a peach … a roaring Western melodrama … Humphrey Bogart does the best work of his career as the motorized guerrilla,” and Robert Garland said that “Humphrey Bogart is gangster Mantee to the tip of his sawed-off shotgun.” The play, clearly, was in for a long run…

Once rehearsals were under way, Humphrey … concentrated on becoming as convincing a gangster as possible. He walked, talked, and lived Duke Mantee; he wore a felt hat with the brim turned down, he talked out of the side of his mouth, and he built a set of mannerisms to go with the character. There are very few shows that don’t have some sort of trouble or conflict prior to (and sometimes after) opening night, but Hopkins had chosen his cast well. A short, round, brown, slightly bowlegged little man, he quietly mesmerized the actors into doing what he wanted, and since in many instances he had intuitively cast them against type (as in Bogart’s case) the results were often electric. He told them that he collected casts the way other people collect books, and that this was the perfect cast; there was not one person in it he’d think of changing…

Their first night in front of an audience was in mid-December at the Parsons Theatre in Hartford, and there were two things that astonished the company. One was the amount of humor in the script – lines took on a new meaning, which they’d missed in rehearsal – and the other was the literal gasp that went up when Humphrey made his entrance. Dillinger was very much in the news at the time, having recently escaped from prison, and to some people it seemed that he had just walked onstage. The prison pallor, the two-day’s beard, the gait, the mannerisms – everything about him was menacing, evil, and real. The company was to hear that gasp every night throughout the run, but the first one was the one they still remember. They went on to Boston, where they opened Christmas Eve, and then to New York in January. They played until June 29 of that year.

For two reasons, Humphrey disdained the use of makeup. The first was that the desired effect of prison pallor made makeup unnecessary, and the second was that to fake a two-days’ beard would be obvious. His was his real beard, and he kept it trimmed during the week with electric clippers, thereby becoming one of the earlier electric shavers. After the Saturday night performance he would shave, singing and lathering himself and having a grand old time, and he would come into Miss Leeming’s dressing room, which adjoined his, and spread his good cheer around with a lavish hand. She remembers him as being generally quiet and gentle, and scrupulous in his behavior to the female members of the cast – a trait that was by no means shared by the star.

The play could have run for a much longer time, but Howard grew weary of playing it. He had enough muscle with the producers (he was a coproducer with Gilbert Miller, in association with Hopkins) so that he could forbid anyone else to take his part, and also to prevent its going on the road. Warners had by this time bought it, and Howard announced that a road tour might hurt the box office for the picture. So they closed the end of June, while still doing booming business; Howard went home to England, and the others went looking for jobs…

One of the good things Howard did, however, was to say that he would do the picture only if Bogart played Mantee, and he was as good as his word. Warners had Edward G. Robinson under contract, and saw no sense in using someone they’d already had a few unspectacular dealings with, so they blithely announced they were making the picture with Howard and Robinson, and with Bette Davis playing Gabrielle. Humphrey, understandably upset, cabled the news to Howard, and Howard cabled Warners that without Bogart he wouldn’t play. They gave in, and Humphrey was signed to another Warner Brothers contract.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Actors, Movies, On This Day | Tagged Humphrey Bogart, In a Lonely Place, The Maltese Falcon | Leave a comment

November 2025 Snapshots

Started off November with a book signing event at the Barnes & Noble near my house in my home state. It was very meaningful for me because my friends could come, my family, my mother, my aunts and a couple cousins drove down from Massachusetts. Judith Swift, the chairperson of the URI theatre department when I was a student there, agreed to come and have a discussion about the book and film. Again: so meaningful. She’s known me since I was 16! The event was a success, and it was overwhelming. All the kids came, my nieces and nephews, all sitting out there listening to their Aunt She She babble on and on. They sold out their Frankenstein book stash! All in all, a huge success. My friend Michele, whom I’ve known since I was 5 years old, hosted a party afterwards and basically everyone came. So I have family mixing with grade school friends to college friends, and others. The whole thing was overwhelming.

Two days later I was off to California.

The timing couldn’t have been more perfect. We gathered together at Dillon Beach. We were all actors in Chicago together. We did shows with each other back then. It’s how some of us met. Mitchell, Jackie and Jim were college friends, and we all ended up in Chicago too, and we all worked together. The groups melded. There was a glorious time when we all were in Chicago together, doing shows, starting theatre companies, working hard, creating shows out of thin air, or – with Derek, who formed a theatre company at the age of 24 – adapting works of literature for the stage (James Agee’s A Death in the Family, Anne Frank’s diary, Joyce’s A Portrait of the Artist … etc.). George has gone on to be a hugely successful playwright. Derek and Rachel reached out to us months ago, saying they wanted to create something – or start something – we’re not sure – and invited us to participate. It was going to be called The Hearth. Rachel said, “When I sent out the email, everyone RSVPd within 5 minutes.”

Derek and Rachel co-hosted. It was a gathering of old friends but it had a purpose, and there was a loose game plan, made up of theatre exercises and games, just like in the old days, but now seasoned by our collective multiple centuries of experience. Rachel and Derek called it the Hearth because the hearth is where people come together, where people gather and tell stories, warm their hands at the fire. In times of such disconnect and divisiveness, where our spirits are bruised by the cruelty of the world and our “leadership”, the hearth is political. We need each other. Derek is a theatre director and activist. (If you haven’t seen his film Remember This, starring David Strathairn, you must. It was based on the theatrical show Derek created, also starring Strathairn). Derek is a heavily accomplished person, and we all met when we were all starting out together. Finding our way.

Jim and I got on the plane in Rhode Island, and we had a layover in Chicago. Mitchell joined us at the airport, and the three of us flew out to California. We arrived a day early and stayed with Rachel and her partner Bruce. It’s been a couple of years since I’ve seen Rachel, but she is a forever friend. Her house is beautiful. The funny thing is … or not so funny … is I have not been to San Francisco since I lived there – sort of – for about two months when I was 23 years old, kind of sort of breaking up with my boyfriend at the time, who got a job in a corporate law firm in San Fran and I went there with him, while also living – alone – in Los Angeles, and having a nervous breakdown of EPIC proportions. The nervous breakdown culminated in the breakdown of our camper van (I wrote about this here … IN 2004), which led directly to me fleeing the scene and moving to Chicago. My now-ex-boyfriend put me on the plane in San Francisco airport. We were both wrecks. Turns out I wrote about THIS too. In 2005. My God, I have been doing this too long.

So the three of us got off in San Francisco, and I had this eerie time-as-accordion feeling. My 23-year-old self, drowning in her own tears, getting on the plane to go start my new life. Here I was again, for the first time since. It seemed like a good way to start The Hearth. Past and present, simultaneous, trying to heal and renew, refresh, gather strength for moving forward. We took a bus to Mill Valley, over the Golden Gate bridge – which I remembered well (of course) from my time there. We’d drive over and go spend the day doing … whatever it is we did. I do remember driving over the bridge and going to some really cool bookstore which opened up onto a wide courtyard, cafe. I bought books there, books which – as it turns out – I read during my first month in Chicago. (I had no idea when I visited the bookstore that I would even BE in Chicago in two months. And meeting him almost immediately upon arrival.) I believe the books I bought were Nancy Lemann’s Lives of the Saints and Jeanette Winterson’s Sexing the Cherry. Maybe Joy Williams’ State of Grace? That might have come earlier.

The fog was thick and dramatic, but the sun blazed down like a spotlight on Alcatraz. We were dropped off a half hour later, and the sidewalk was rain-wet, and the air was chilly. Rachel was there to pick us up. We then proceeded to start our ‘vacation’, which was really about being totally present every moment. She showed us around her gorgeous house, and she and I immediately began discussing our bodies and dealing with our bodies and taking care of them. We have known each other since we were mid-20s. There is nothing like the comfort of continuity, and things changing but also not changing. Bruce is great: they are a relaxing couple. Real partners. We went out to dinner and then went to see Frankenstein!

It was an old movie palace, with art deco details, a huge curving staircase, murals and engravings on the wall and ceilings. I was still so IN the Frankenstein experience – I’m slowly coming out of it. It felt so good to share this thing with other people, to involve others in what has been a fairly solitary journey. After sleeping like rocks, we woke up, packed up the car, and set off for Dillon Beach. The landscape changed dramatically at one point (and I was disoriented, I had no idea where we were). We were driving through farmlands, cows, sheep, but with thick fog rolling in too. The ocean had to be close. Eventually the fog was so thick there was limited visibility and suddenly we drove up a little curved drive and Rachel said, “We’re here.”

We got out of the car into a whole other world.

The fog was a wall of white. The air was filled with the roar – yes – the ROAR of the ocean far below us. We could not see the ocean (and we would not see it for two straight days). The white wall was impenetrable. (Like the white wall in Mark Helprin’s Winter’s Tale.) You could smell the Pacific Ocean. It roared and thrashed and yet was totally invisible. The wind was intense. There were trees frozen in misshapen ways, contouring themselves with the wind. We could see these trees, ghost-like, through the thick fog. We were just all stunned into silence at the spectacle, the spectacle we could not see.

Over the course of the rest of the day, everyone else arrived. In giggling caravans. Fucking pleasure. I need more of it!

The house was magnificent, perched on a cliff, overlooking the nothingness of white, the air filled with crashing and roaring: all the pictures I took during our first days there featured my friends sitting in the main room, with a white wall of fog outside the windows.

Eventually the fog cleared: we woke up one morning and it was clear, the spectacular vistas suddenly visible, like magic. The crash and roar of the ocean a constant symphony. The coastline: dazzling. With rocks jutting up and waves crashing around them. The melting vivid sunrise, with a long thick wall of fog rolling in … the sunset pouring into the sky – so different from an East Coast sunset.

The space was extraordinary, with one side of the house facing the abyss, and a little deck stretching around that side. In the back of the house was a hot tub. And a disco ball. No home is complete without a disco ball. There were many bedrooms, of course, and we paired up. I was rooming with Jackie. We giggled and reminisced about the our old “sleepovers” we had back in Chicago, before we’d wake up early and go run a 5k. Probably hungover, but when did that stop us?

The main space was totally open but so big that there were little areas set apart, so you were all in the same space but you could also be alone. I of course woke up at like 5 a.m. even though I was on vacation because my internal alarm clock just goes like that. It was still dark, and I took my book into the main room, made some coffee, and lay on the massive couch reading. I didn’t even notice that Mitchell was also up, lying on a couch on the other side of the room. We marveled later at how … in the space of the Hearth … everything was okay. Having alone time is not asocial even if you are in the room with a bunch of people. You forget. What it’s like to be in a room where there is no judgment, only support.

We picked an angel card at the start of the Hearth. It was an interesting one.

I have a long tortured relationship with Angel Cards – which, my God, I have been writing here a long time – I wrote about – again, in 2004. 2004, MY GOD. Despite my love/hate relationship with Angel Cards, I never got rid of my little pack. And sometimes, yeah, I pull one. I had a moment with an Angel Card, as a matter of fact, in my last move, to this place. But that’s a story for another day.

We pulled Responsibility, which seemed just right for this gathering of friends/theatre colleagues, and nurturing a sense of responsibility to each other, to the work each of us are doing, and how can we create a more intentional space to be there for each other, to express the responsibility we feel, towards ourselves, yes, but also towards each other and towards our larger communities. We talked a LOT about these things. We had group discussions on different topics, or one of us would share something going on with us, which would launch this immensely helpful (ultimately) discussion, the jumping-off place from one person into another. Responsibility.

We started our day with breakfast, and then we would gather in the main room. Rachel would lead us through a meditation and then Derek would start us off with … not “games”, but exercises he’s been developing at his work (artistic and otherwise) around the concept of “care”. He’s been doing this work in prisons too. Intense. It’s been so long since I’ve been in a creative group setting like this. Writing is so solitary. I spent 20, 25 years or whatever in acting processes and classes and rehearsals, where relaxation exercises and connection exercises were a part of my every day world. It felt so GOOD to be back there!

There were tears and laughter. We did theatre games, and listening exercises. We did an exercise about curiosity. We talked long and we talked deep. We broke off into groups. We even had homework once! I felt so grateful to be there with such wonderful people. So many memories, including gathering on Zoom wearing funny hats to cheer up and support Mitchell, who was the first one of us to get Covid. Terrifying: he got it in late March 2020. So we have history but this was something new: it was intentional. It was impossible, in this space, to take it for granted.

They were long days, with three “sessions” per day, but the feeling of all of us in one space, alert to one another, phones far away. It took me maybe a day to get in sync with the experience, to let go of the distractions, of the overwhelming sense I’ve had for two years now that I have so much to do. Here there was no room for that.

And then, George came back into the room after taking a phone call. There was a dazed expression on his face. He said, in his flat dry tone, which is always such a CRACK-UP, “Sooo … I just heard that … apparently I’m a Grammy nominee?” Question mark at the end, connoting the sheer unbelievability of what life can provide. As you can imagine, we all flipped the fuck OUT. (He was nominated under Best Opera Recording, for the new opera based on George’s extremely successful stage play Grounded. Well, the composer was nominated, but come on, George was the librettist, and the whole thing came from his brain. Grounded, a first-person monologue by a character who’s an Air Force pilot “grounded” because warfare is about drones now … it’s a masterpiece, and it traveled the world. Literally. George has been writing plays since he was a teenager probably. I was in a number of his plays in Chicago. We all were. Grounded, though, really struck a nerve in our war-torn world. I wrote about the premiere productions I saw at the Public Theatre, with Anne Hathaway in the role. Not coincidentally, I went to see the show with many of the people at the Hearth.

So here we were. Ten years after that night at the Public. Grounded was turned into an opera. And now George has a Grammy. And he got the news WITH US, surrounded by us! We were all just jumping around and screaming.

The next morning, we secretly “made” a coffee cup for him.

Our final full day there, we had our sessions in the morning and then drove down to Dillon Beach. As an Eastern Seaboard girl, all I can say is you would never mistake the Pacific for the Atlantic. It’s just different. The waves are different. They are longer. From our perch on the cliff, we could see the long long breakers rolling in.

The sound is different, the mountainous coastline gives the ocean a different character. Even the light is different. The beach was crowded, with dogs and people. Some of us went swimming. It was freezing. We took a long walk, and reveled in the cool air, the sun, the ocean sound. The light was silvery, with foam and mist in the air, creating interesting silhouettes when looking into the sun.

These are SUCH good friends. I also felt the healing of being with people whose lives might not look like mine, but we are all the same-ish age, and dealing with the same things. It was healing to be with peers. To talk about things without fear of judgment, or having to EXPLAIN what it means to be where we are at in our life’s journey. It was hard to leave. Especially since I knew I was coming back to a MOUND of very pressing deadline-driven work. November is the busiest time of year for me, as a film critic, a writer, a person, my various jobs, everything comes to a head in November. But we set up “systems” in place to be “responsible” for one another, “accountability” ideas, and also the promise of more. We don’t want this to be the only Hearth. We co-created something so beautiful. And also, lest we forget, there was SO MUCH LAUGHTER. It felt like I had been away for two weeks.

I returned and launched myself back into the whirlwind. The day I came back, I joined a Facebook Live with host Jen Johans, talking about Frankenstein and my book!

The end of November was the five-year anniversary of Pat’s death, which seems unreal. Surreal. It feels like yesterday it feels like ten years ago. We live in the aftermath. We gathered together, as we do every year, down at the fishing pier to the parking lot of a seafood restaurant with lifelong meaning to basically all of us, but mostly Pat. Normally we just meet there as a family. This time, though, we invited everybody. Everything’s closed down there, of course. It’s winter. I live in a seasonal-based fishing state. But Pat came from generations of fishermen. He was a world-class oyster shucker – definitely a skill not everyone has – shucking at parties all over the country.

So we gathered together outside in the parking lot, setting up coffee and food on the picnic tables, everyone bundled up against the cold, watching the fishing boats going by. We took turns talking about Pat, and it was very moving. We miss him so much.

On the roof next door, facing the water, is a “sculpture” of lobster pots, some of them with names on them, or initials, from fishermen who have passed. Pat’s initials are up there now.

Allison came up for Thanksgiving and we stayed in a little cute house down by the ocean. She has a dog so she can’t really stay with me. I can’t do that to Frankie. It was an adorable house on a nice patch of land. And best of all, it had a record player, complete with …

… a very cool record collection.

Reading
The Chronology of Water, by Lidia Yuknavitch. A re-read in preparation for reviewing the film, which … blew my mind.
Still making my way through Emily Dickinson’s complete poems. I’ll be at this for years.
Coming close to the end of Adriatic: A Concert of Civilizations at the End of the Modern Age, by Robert Kaplan. He has a new one out. I can’t wait!

Posted in Personal | Tagged Emily Dickinson, family, Frankenstein, friends, Robert Kaplan, snapshots | 5 Comments

“There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses.” — Jonas Mekas

When the avant-garde filmmaker (he referred to himself often as a “film diarist” died at the age of 96, the outpouring of tributes was overwhelming (and, in many cases, instructive. There was a lot I didn’t know.) My fellow NYFFC member Bilge Ebiri interviewed Mekas in 2017 for the Village Voice – a fantastic interview (and incidentally, Mekas was the paper’s first film critic). There is so much to be said about Mekas, his life, his work, his vision. He moved along with the technology, keeping up to date, and spoke eloquently on how different kinds of cameras affected his approach and the result. He worked until the end. He ran his own website, and uploaded his fragmentary clips on a daily basis. He was the essence of independent.

For my purposes, here on this personal blog, I gotta write about Jonas Mekas and Elvis.

In 1972, Mekas attended the final show of Elvis Presley’s 4-day gig at Madison Square Garden (the 4 shows sold out in minutes, unheard-of at the time). Mekas brought with him a 16mm camera, smuggled under his jacket. He shot what he could. He did not have official clearance to be filming this epic event. The footage he got was wild and chaotic. There is no sound. He did not make any attempts to sync up anything. He said, “Some of it was filmed normal 24fps speed, some not.”

Decades later, in 2001, the Viennale International Film Festival asked Jonas Mekas to prepare a trailer for the festival. He could do whatever he wanted with the trailer, obviously, because he’s Jonas Mekas. “Go for it” was the basic assignment.

Mekas used his Elvis footage.

He spoke later about why he created the trailer in the way that he did:

I was lucky enough to see Elvis Presley’s final concert at Madison Square Garden in June 1972. Usually, you are not allowed to bring a camera to a concert. But the audience and the entire event were so wild that no one paid any attention to me. Over the years I watched the footage again and again. Then the Viennale called and I immediately thought of my Elvis material. The only problem was that I didn’t know what kind of musical soundtrack to use. I tried everything and was close to giving up when I happened to hear a Viennese waltz on the radio. That was it! What could be better – or funnier – than Elvis and Strauss?

“What could be better – or funnier – than Elvis and Strauss?” — Jonas Mekas

The trailer is so beautiful, and weirdly emotional.

This post stands as just a small portion of gratitude to Jonas Mekas from a hardcore Elvis fan.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Directors, Movies, On This Day | Tagged Elvis Presley, short films | 4 Comments