I am expecting an online magazine to publish an interview I did with author Maud Casey. In the meantime, here is an excerpt.
Yang: Though it’s often used to mask a sadness, there is a wonderful sense of humor in your fiction. It also ranges in style and tone. In Drastic, it can be simply offbeat and amusing, similar to what see from Eudora Welty or Anne Tyler, who populate their fiction with quirky characters. At other times, your fiction can be silly, satirical or poignant. In The Shape of Things to Come, the humor is more sad. Where does your sense of humor come from? Is humor usually sad, and is its source sadness–or something else, like exasperation?
Casey: I’m thrilled to hear you find my writing funny. My humor has occasionally been mistaken for bitterness–I won’t name any names, but let’s just say that a particular anonymous review of Shape referred to it as a “bitter, little novel.” Still planning on getting a tee-shirt made that says “bitter, little novelist.”
I’m not sure where my humor comes from, though I see it as a form of resilience in the face of sadness. One of Lorrie Moore’s characters says at one point, “Life is sad. Here is someone.” Or something, a banana peel? My favorite kind of humor doesn’t mask sadness so much as embrace it. Life is sad, but there’s beauty and, often, hilarity to be found in its sadness. The great philosopher Mel Brooks once said, “Comedy is when you get eaten by a lion. Tragedy is when I cut myself shaving.” Humor requires a little distance from great sadness, so it can be a kind of relief. It’s a relief, but it’s also deeply, inextricably related to and entwined with sadness.
I have been putting my Welta Garant through its paces, mostly Ilford XP-2 on New York cityscapes. Using a pre-war camera like the Garant seems to be both good training and a lot of fun. Jurgen Kreckel, who sold me the camera, has been great at responding to
my questions, but there isn’t an English-language manual—and
forget finding Garant-specific information on the Internet (though medfmt8k.com is a great general site on medium format cameras). Things we take for granted on our modern cameras (autofocus, a light meter, easy to use focus) don’t come on the Garant; I am having to rely primarily on depth of field. Still struggling with basics like how to properly close this folding camera! Maybe I need to trade this in for a twin lens reflex…
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"Magic realism is not like salt that you can sprinkle on everything," Isabelle Allende says in an interview with Salon about her new novel Zorro. "I have written more than 15 books and there are elements of magic realism only in a few of them. But for some reason, Latin American writers who have used this end up being labeled with magic realism. But really, magic realism is just an acceptance that the world is a very mysterious place and we don’t know all the answers." She also talks about why she accepted the project to write about the fictional masked hero, despite being a "serious writer."
In the preface to Artificial Intelligence and Literary Creativity: Inside the Mind of BRUTUS, a Story-Telling Machine, Selmer Bringsjord and David Ferrucci argue that a good story, whether generated by man or machine, needs "wide variability."
There are many dimensions over which a story can vary. Plot is only one of them. Characters, settings, literary themes, writing style, imagery, etc.–these are other dimensions, and there are many more. Generally speaking, belleteristic fiction has very wide variability across these dimensions. Mark Helprin’s latest novel is likely to have a rather unpredictable plot traversed by rather unpredictable characters in rather unpredictable settings tossed by unpredictable mixtures of love, revenge, jealousy, betrayal, and so on, as reported in prose with a cadence and clarity rarely seen. One of the chief effects of it all is to conjure unforgettable images in the reader’s mind. (One of us is haunted weekly by the image of the lost gold in Helprin’s Memoir from Antproof Case.) At the other end of the spectrum fall formulaic fiction and film; here the variability is narrow. Some romance novels, for example, fail to offer wide variability of plot and characterization: It’s the same character types time and time again, dancing hot and heavy to the same choreography. If Brutus^n, some refined descendant of Brutus^1, is soon to find employment at the expense of a human writer, in all likelihood it will be as an author of formulaic romance and mystery.)
The preface is available as a pdf file on Bringjord’s web site.
David Hurn of Magnum Photos on the selection of subject matter.
The reason for a young photographer’s confusion is that most teachers, classes, workshops, books, whatever, imply that how the picture is made, what techniques were employed, why it looks different and artistic, is more important than the subject matter. Yet the photographer is, primarily, a subject-selector. Much as it might offend the artistically inclined, the history of photography is primarily the history of the subject matter. So, a photographer’s first decision is what to photograph. Your curiosity, fascination and enthusiasm for this subject can be communicated to others through the pictures you take of it.
Betsy Johnson boutique, New York
McDonalds, Midtown Manhattan