faustus: (cinema)
( Jan. 18th, 2012 11:56 am)
I'm doing a certain amount of siphoning off - stuff on photography has been appearing at ’Stairs Steps Stares (which in time will likely becomes Stares, and needs some updates) and stuff on film is now going to be at Conjunctions. An offshoot of a Sekrit Projekt and a Sekrit Projekt will be revealed in due course, subject to contract and all that.

It'll be tedious to crosspost all the time so I'll probably post links every five films or at the end of each month. So far:

2012 - I: The Damned (Joseph Losey, 1963)

2012 - II: The House Across the Lake (Ken Hughes, 1954)

2012 - III: The Hide (Marek Losey, 2008)

2012 - IV: Source Code (Duncan Jones, 2011)

2012 - V: Hallam Foe (David Mackenzie, 2007)
Alibi's top earning crime writers

Is Michael Crichton really a crime writer? First Great Train Robbery, I suppose. Bit of a stretch for Ian Fleming, come to that.
faustus: (Default)
( Dec. 17th, 2010 12:51 pm)
White supremacists urge Thor boycott over casting of black actor as Norse god.

The reason to boycott the film is it's Kenneth Bloody Branagh, who made such a spalsh with Mary Shelley's Young Frankenstein.
faustus: (seventies)
( Dec. 12th, 2010 01:57 pm)
Is there really a novelist called Docx? I look forward to Pdf and Rtf.

Can someone who accuses genre writers of being amateurish get away with the sentence "we are lead to believe"?
The Grauniad Open Door on use of pronouns for the transgendered in reportage: http://www.guardian.co.uk/commentisfree/2010/nov/08/pronouns-transgendered-people

The comments are a mixed bag, as may be guessed, but this leapt out: "What you fail to acknowledge is that transgenders, by their acts, are aggressive to the larger community around them." To which, WTF?
... by The Sensational Alex Salmond Gastric Band.

Bohemian Anchovy
Bjork and Blessed
I am Nick
Stand and Deliver
faustus: (Culture)
( May. 10th, 2010 02:13 pm)
Marilyn Hacker is The Grauniad's Poet of the Week
faustus: (cinema)
( Oct. 15th, 2009 10:52 pm)

Ridley Scott to remake Red Riding Trilogy/Quartet.

And to set it in the US.

Just what we need.
faustus: (Culture)
( Jul. 25th, 2009 12:36 am)
Carol Ann Duffy has commissioned war poetry for the Guardian
faustus: (Default)
( Jul. 2nd, 2009 05:20 pm)
I haven't written up my visit to Lewes yet - but note the description here: http://www.guardian.co.uk/books/2009/jul/02/thomas-paine-festival-lewes
Gakked from [personal profile] benpeek: Kristine Kathryn Rusch's piece from The Internet Review of Science Fiction.

It begins with a discussion of the current economic crisis, and suggests it's not as bad as 1929, and there were worse things in the aftermath of the end of slavery (I know not how accurate these are), and also moves to discuss women in sf, riffing off those recent anthologies with few or no women writers:

"What amazed me was that [...] people believed this to be evidence of gender bias in SF publishing. And as I poured through the names of the complainants on the site and on linked blogs, I realized that all of these people were much younger than I am.

"These young writers stand on a platform built by the writers who came before them. That platform states that gender bias is a bad thing. And so these writers complained, were heard, and got an explanation and an apology, because the editors involved shared the belief that gender bias is a bad thing. The editors were embarrassed and promised never to do such a thing again.

"But what the writers don't seem to realize is what the real gender discrimination fight was like. I have an inkling, because I'm part of a crossover generation. I came in after the battles were won, but not every person was comfortable with the victory. I got a lot of hate mail that first month I edited The Magazine of Fantasy and Science Fiction because I was the first woman to take the job.

I have a vision of the Yorskshiremen sketch - "Aye, but you had it easy." I might concede a point that some of the things we object to now seem trivial in relation to battles over - I don't know - education, voting, property and reproductive rights, but visibility is still vital. The women men don't see. The all-male contents page, the Gollancz promos that fail to include women, the all-male short lists, it's all slippage.

Down in the comments she adds:

"I see no discrimination against women in sf/f any more. None."


"Women dominate publishing. We write the most books. Women dominate the editing positions. Women have an equal number of publishing positions to men. Women read most of the books published."

However, this seems to be skewed by focusing in on romance fiction - and I'm not sure how much that should be celebrated anyway (he says, suppressing women's writing). I hesitate to use the word ghetto, but that's what the romance community feels like to me, but then it's not a fiction aimed at me, so that shouldn't be a surprise. Women are able to dominate in one area of fictional reflection of human life (ah - "she wrote it, but it wasn't important", ahem, but that's not exactly what I mean here), but clearly struggle to be allowed to opine elsewhere. Or if they say important things, need to fit it in with a romance plot.

Not to play down the historic struggles, which moved mountains, but when Buffy is as feminist as the mainstream culture gets, there's still a way to go, alas.
Read, unfinished, hated (I don't do much hating, but the second and third groups meld). Note some series as series, and Banks. 145 titles; 24 read, mostly between the ages of 18 and 25.

Kobo Abe, The Face of Another (1964)
Louisa May Alcott, Little Women (1868)
Kate Atkinson, Behind the Scenes at the Museum (1995)
Margaret Atwood, Cat's Eye (1988)
David B, Epileptic (1996-2003)
Nicholson Baker, Room Temperature (1990)
Honoré de Balzac, Eugénie Grandet (1833)
Honoré de Balzac, Le Père Goriot (1835)
Iain Banks, The Crow Road (1992)
Lynne Reid Banks, The L-Shaped Room (1960)
Simone de Beauvoir, The Mandarins (1954)
Alison Bechdel, Fun Home (2006)
Samuel Beckett, Malone Dies (1951)
Sybille Bedford, A Legacy (1956)
Saul Bellow, Herzog (1964)
Saul Bellow, Humboldt's Gift (1975)
Arnold Bennett, The Old Wives' Tale (1908)
John Berger, G. (1972)
Thomas Bernhard, Extinction (1986)
Jane Bowles, Two Serious Ladies (1943)
William Boyd, Any Human Heart (2002)
Hermann Broch, The Death of Virgil (1945)
Fanny Burney, Evelina (1778)
Samuel Butler, The Way of All Flesh (1903)
Ron Butlin, The Sound of My Voice (1987)
Albert Camus, The Outsider (1942)
Angela Carter, Wise Children (1991)
Willa Cather, The Professor's House (1925)
John Cheever, The Wapshot Chronicle (1957)
Kate Chopin, The Awakening (1899)
Jean Cocteau, Les Enfants Terribles (1929)
Colette, The Vagabond (1910)
Ivy Compton-Burnett, Manservant and Maidservant (1947)
Jim Crace, Being Dead (1999)
Jim Crace, Quarantine (1997)
Daniel Defoe, Roxana (1724)
Charles Dickens, Great Expectations (1861)
Fyodor Dostoevsky, The Brothers Karamazov (1880)
Julie Doucet, My New York Diary (1999)
Margaret Drabble, The Millstone (1965)
Gerald Durrell, My Family and Other Animals (1956)
Shusaku Endo, Silence (1966)
Anne Enright, The Gathering (2007)
Jeffrey Eugenides, Middlesex (2002)
William Faulkner, As I Lay Dying (1930)
William Faulkner, The Sound and the Fury (1929)
Richard Ford, The Sportswriter (1986)
EM Forster, Howards End (1910)
Michael Frayn, Spies (2002)
Esther Freud, Hideous Kinky (1992)
John Galsworthy, The Man of Property (1906)
Elizabeth Gaskell, Mary Barton (1848)
André Gide, The Immoralist (1902)
André Gide, The Vatican Cellars (1914)
Oliver Goldsmith, The Vicar of Wakefield (1766)
Graham Greene, The Power and the Glory (1940)
Knut Hamsun, Hunger (1890)
LP Hartley, The Shrimp and the Anemone (1944)
Ernest Hemingway, The Old Man and the Sea (1952)
Hermann Hesse, Steppenwolf (1927)
Hermann Hesse, Narziss and Goldmund (1930)
Paul Hornschemeier, The Three Paradoxes (2006)
Thomas Hughes, Tom Brown's School Days (1857)
John Irving, A Prayer for Owen Meany (1989)
Henry James, The Ambassadors (1903)
Henry James, Washington Square (1880)
Elizabeth Jenkins, The Tortoise and the Hare (1954)
BS Johnson, The Unfortunates (1969)
James Joyce, A Portrait of the Artist as a Young Man (1916)
James Joyce, Ulysses (1922)
Molly Keane, Good Behaviour (1981)
Yashar Kemal, Memed, My Hawk (1955)
Ken Kesey, One Flew Over the Cuckoo's Nest (1962)
Hanif Kureishi, The Buddha of Suburbia (1990)
DH Lawrence, Sons and Lovers (1913)
Laurie Lee, Cider with Rosie (1959)
Rosamond Lehmann, Invitation to the Waltz (1932)
Doris Lessing, The Golden Notebook (1962)
Richard Llewellyn, How Green Was My Valley (1939)
Jack London, Martin Eden (1909)
Malcolm Lowry, Under the Volcano (1947)
Carson McCullers, The Member of the Wedding (1946)
Naguib Mahfouz, Palace Walk (1956)
Bernard Malamud, The Assistant (1957)
Thomas Mann, Buddenbrooks (1901)
William Maxwell, Chateau (1961)
FM Mayor, The Rector's Daughter (1924)
George Meredith, The Ordeal of Richard Feverel (1859)
Rohinton Mistry, Family Matters (2002)
Timothy Mo, Sour Sweet (1982)
Brian Moore, The Lonely Passion of Judith Hearne (1955)
Toni Morrison, The Bluest Eye (1970)
Toni Morrison, Song of Solomon (1977)
Alice Munro, Who Do You Think You Are? (1978)
Iris Murdoch, The Black Prince (1973)
Robert Musil, The Man Without Qualities (1930-32)
VS Naipaul, A House for Mr Biswas (1961)
Flann O'Brien, At Swim-Two-Birds (1939)
Kenzaburo Oe, Teach Us to Outgrow Our Madness (1969)
Walker Percy, The Moviegoer (1961)
Sylvia Plath, The Bell Jar (1963)
Chaim Potok, My Name is Asher Lev (1972)
JB Priestley, The Good Companions (1929)
Annie Proulx, The Shipping News (1993)
Marcel Proust, Remembrance of Things Past (1913-27)
Piers Paul Read, A Married Man (1979)
Dorothy Richardson, Pointed Roofs (1915)
Henry Handel Richardson, The Fortunes of Richard Mahony (1930)
Henry Roth, Call It Sleep (1934)
Jean-Jacques Rousseau, Julie, ou la Nouvelle Héloïse (1761)
Arundhati Roy, The God of Small Things (1997)
JD Salinger, The Catcher in the Rye (1951)
Cora Sandel, Alberta and Jacob (1926)
Vikram Seth, A Suitable Boy (1993)
Carol Shields, Unless (2002)
Lionel Shriver, We Need to Talk About Kevin (2003)
May Sinclair, The Three Sisters (1914)
Isaac Bashevis Singer, The Family Moskat (1950)
Jane Smiley, A Thousand Acres (1991)
Zadie Smith, On Beauty (2005)
Christina Stead, The Man Who Loved Children (1940)
John Steinbeck, East of Eden (1952)
Noel Streatfeild, Ballet Shoes (1936)
Italo Svevo, Confessions of Zeno (1923)
Booth Tarkington, The Magnificent Ambersons (1918)
Elizabeth Taylor, Angel (1957)
Flora Thompson, Lark Rise to Candleford (1945)
Colm Tóibín, The Blackwater Lightship (1999)
Sue Townsend, The Secret Diary of Adrian Mole, Aged 13 3/4 (1982)
William Trevor, Death in Summer (1998)
Ivan Turgenev, Fathers and Sons (1862)
Miguel de Unamuno, Peace in War (1897)
John Updike, The Rabbit Omnibus (1960-90)
Alice Walker, The Color Purple (1982)
Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000)
Alan Warner, Morvern Callar (1995)
HG Wells, The History of Mr Polly (1910)
Rebecca West, The Fountain Overflows (1957)
Antonia White, Frost in May (1933)
Patrick White, The Tree of Man (1955)
Oscar Wilde, The Picture of Dorian Gray (1891)
Jeanette Winterson, Oranges Are Not the Only Fruit (1985)
Virginia Woolf, Mrs Dalloway (1925)
Virginia Woolf, To the Lighthouse (1927)
Johann David Wyss, The Swiss Family Robinson (1812)

faustus: (Default)
( Jan. 17th, 2009 09:48 am)
Irvine Welsh reviews Murakami Ryū's latest novel in today's Guardina - "The dustjacket of Ryu Murakami's latest novel, Audition, somewhat pompously describes the author as a "renaissance man for the modern age"." Except that I saw Audition, the film based on this novel, some point around 2000 and it came out in about 1999. It's based on a novel by him - although the Wikipedia entry doesn't make clear which.
Is the books world short-changing its bright young women?

Do men have an unfair advantage in our literary prize shortlists?

A variation on why don't women write books with big ideas (to which the answer is, I suspect, if they do it doesn't get counted as a big idea) which also then takes in why don't women present big documentaries?

What was the last female fronted documentary - leaving aside Cash in the Attic, Car Boot Challenge and whatever the Channel 4 sex show was called? These clearly don't stand up there with Schama, Winston, Starkey, Ferguson etc. Those art programmes with a nun and Victoria Wood on empire is the best I can do. But authored documentaries? Even when Paglia and Greer are doing stuff, it tends to be one off.

On the short list issue, I confess to a certain amount of "Well Zadie Smith gets everywhere" - but there's the old line about swallows and summers, and I got there by thinking "That Brick Lane woman, whatsername", although I was thinking about Zadie Smith despite going via a book by Monica Ali (Ali Smith was the mental jump).

The writer suggests that we don't like pushy women so they don't get onto shortlists. Or to do documentaries.
faustus: (comedy)
( Nov. 6th, 2008 01:21 pm)
Charlie Brooker gets it:

So it's here at last. The dawn of the dumb has broken in earnest. Two mistakes occur - first Russell Brand and Jonathan Ross overstep the mark with an ill-advised bit of juvenilia, then someone decides to broadcast it. Two listeners complained, but that's by the by: it shouldn't have gone out. But then the Daily Mail - not so much a newspaper as an idiot's guidebook issued in bite-size daily instalments - uses the incident as the starting point for a full-blown moral crusade. Suddenly everyone's complaining, whether they heard the broadcast or not, largely on the basis of hysterical, boggle-eyed descriptions of what the pair said. Poor Andrew Sachs, who, having been wronged, graciously accepted their apologies and called for everybody to move on, looked bewildered by the sheer number of cameras stuck in his face. Because, by then, apologies weren't enough.

The Mail was so incensed, it printed a full transcript of the answerphone prankery under the heading "Lest We Forget" - and helpfully included outtakes that weren't even broadcast, so its readers could be enraged by things no one had heard in the first place. This was like making a point about the cruelty of fox-hunting by ripping a live fox apart with your bare hands, then poking a rabbit's eye out with a pen for good measure

Lest We Forget, of course, has rather significant meaning at this time of year as we don poppies, whether red or white or both.
So I'm googling for images for a lecture on comedy and sexism, when I stumble across:

The Nympho Librarian"The prim miss took off more than her mask of respectability behind the stacks ... to any man who asked"

And that led me to:

The Image of Librarians in Pornography

"Librarians are always concerned about their image, and much attention has been paid to that image in novels, television programs, and advertising. However, there has been little attention paid to that image in pornography."

This puts that right...

Actually, there's good library humour in general here

Where are the books by women with big ideas?

Books like Freakonomics, defining significant cultural or economic trends with a punchy title, never seem to be produced by women. But why?

Apparently Naomi Klein and Susan Faludi don't count; nor Greer, Russ, Millett, Carter, Woolf, Wollstonecraft, Rowbottom, Paglia, Rubin, Dworkin, Gilbert and Gubar, Showalter, Jardine ... Why do I think The Guardian bookblog is actually trolling rather than saying something serious ever? Make brain dead statement and step back. Hey, I can do that...

On the other hand, maybe women know the truth: it's not the size of the idea that matters, it's what you do with it.


faustus: (Default)


RSS Atom

Most Popular Tags

Powered by Dreamwidth Studios

Style Credit

Expand Cut Tags

No cut tags