Hives From Mosquito Bites Images

JD Salinger (1919-2010)

(Originally published in No 316 Chimaera )

In Six Degrees of Separation, a play written in 1989 and famed for its cinematic translation of 1993, John Guare put into the mouth of Paul, the scammer that connects the lives of its characters, a memorable reflection on The Catcher in the Rye strung through most lunatic readers: namely, from an anonymous teacher who ended up committing suicide from by Mark David Chapman, the murderer of John Lennon (another fan of the book, by the way), to the assassin John Hinkley. For Guare / Paul the great message is Death of Imagination, represented in a time when the imagination is an act of tourism and surprise rather than an introspective look. The character says that all tracks are and the great feeling that the book conveys the paralysis

system exemplifies how well Holden Caulfield, his rebellious protagonist who embarks on a journey downhill. The inability to see and understand the Other. Starting with oneself.

Jerome David Salinger was born in 1919 and Caulfield, his most iconic, and appeared to star in a story published in the New Yorker in 1941. Its overwhelming success Salinger became the figure of someone becoming increasingly elusive, which reached its peak in 1963 following the publication of his latest book (two nouvelles together) that took him into silence, only interrupted by an interview (short and sullen and ) in 1971.

Many things can be discussed in the literature,

starting with the same Catcher in the Rye.: Its chronic psychological block of Caulfield is evidently lower than the side of The Tin Drum Günter Grass, much more complete and gives relevance to factors specific to the highly sophisticated psychological delusion of its protagonist, creating an unreliable narrator, but also a series of echoes that leak from the verbal repetitions (and echoes) to the distribution of images. Salinger hit full in the voice of its narrator, not with the latter's capacity to suggest their bad grades deep. Proof of this virtue is that Caulfield clear to the reader that his story will have nothing to do with David Copperfield ("And All That Crap") and so on Salinger narrator begins a kind of current and vulgar lie when we touch, "that continue most successful and sophisticated writers of his generation like John Cheever, Saul Bellow and John Updike, all paid to his impact. But since then, the realistic narrator, preferably teen or child, paralyzed is common in literary works, from the pain of Safran Foer Extremely Loud and Incredibly close to the narrator marking Haruki Murakami Norwegian Wood, Kafka on the shore or South of the Border, West of the Sun through the Mark Haddon's The Curious Incident of the Dog at midnight.

Therefore, his most striking is the more experimental and chaotic: the Glass family that appears in their stories and their nouvelles and the reader is in charge of rebuilding their own way. The image, unforgettable, idyllic front of the beach hotels that broke with the brutal and sudden suicide of Seymour Glass in excellent A Perfect Day for Banana plez were only the beginning of a family by the extreme sensitivity maracas, Manhattan and strangers spiritual discoveries absolutely life-changing.

is in those works where there is more mystery and variety of narrators, including stages, in which a singular narrative and genealogical puzzle is reconstructed by a reader who attends a narrative marked by trivial details Traditionalists, at the Fitzgerald (not coincidentally The Great Gatsby is the favorite book of Holden Caulfield), in which the characters end up overflowing soul. What is undoubtedly a literary triumph whose shadow influences our musicians of today and the melancholy pop songs encrypted Belle & Sebastian, and filmmakers such as dysfunctional families Wes Anderson all defined on the basis of details and even baptized from salingerianos characters like Boo Boo Tannenbaum Glass who gave his name (and model) to The Royal Tenenbaums.

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The office, the writer, his friends, etc. Champions

( Originally published in Book Notes )

Marchette Chute. Shakespeare and his time Translation Ullán Maria Dolores Raich. Ed Young, 1960

This column will only allow pedantry modest quote Shakespeare without any translation mediate to save bilingual editions. For the rest, I reviewed and read the two versions of Marchette Chute, the original and an old copy, now found in libraries, which reissue is a must. The translation of Ullán is perhaps too old-fashioned, still only fluent in key, grammarians, but using a vocabulary sometimes too pompous, sometimes even wrong. Regarding Chute, all references listed at the beginning of the book, which can be a problematic decision for the picky reader who want to address the sources directly. Work the author refers to "occupy more than text and defines the creative process as" a kind of mosaic, built with small details that only make sense when juxtaposed with each other. " In his colossal

, somewhat repetitive (it's an extension, between forced and inspired great trial and round The Western Canon) and sometimes great Shakespeare: The Invention of the Human , Harold Bloom spends much exposing test academic readings from cultural studies bent to discredit the English playwright. Constant suspicion of Shakespeare, speaking Eloy Fernandez Porta in this entervista with Antonio J. Rodriguez in recalling that "our views on them would seem absurd to past masters. So Moratín regarded Shakespeare as a writer second, and this reflected the views widespread cultural establishment of his day, that is, the Enlightened, for whom the author of Titus Andronicus was a exaltao and tacky. " In another sense, James Wood speaks author's English as a dissonant element precisely backbone to any purely materialist version of the case.

You start reading the book with echoes and predictions of talent. Are fascinating anomalies corresponding to the story of his father, John Shakespeare was an illiterate man (a rarity in his position as chamberlain) very gifted. Already in this short story, which includes a description of your company as a synthesis, a stimulus to the imaginative reader. Also in the early fascination with the Bard by Ovid and Chaucer : there is a complement to reading this biography based on literary reading of all these data. This procedure was speculative and Joycean novel is brilliant and Nothing like the sun of Anthony Burgess (whose biography deserves further comment other than synthetic) the most blatant and interesting example of how the reader fills in the gaps with the works of life authors.

But for the reader, the most exciting of the meteoric career of a man who was a child, who was enthusiastic reader and actor who was a brutal time requirements for these as the Elizabethan theater, is in the idea, brilliantly discussed, that Shakespeare was not literature at the time. It is the idea that forces us to read the works before their contexts, rather than mere result of the biography and context. What helps us understand Chute is that at the time, Ben Jonson the most prominent contemporary of Shakespeare, was a pedant and edit your worry Complete Works and that this achievement was for, in general, poets full time. Shakespeare did not worry about it too turned in their work as it was. Also the role of editor: the risky adventure of John Heminges and Henry Condell for editing the complete works of Shakespeare in 1619, and died with him in a time that Johnson had, in fact, achieved fame thanks to better his insistence, at first ridiculed, falling well cultural circles. Chute

suggests that Prospero, one of the great protagonists of The Tempest could be the playwright. It is a simple and beautiful images that close his biography. The genesis brings the origin of the story is compelling, speaking from a shipwreck in Bermuda become popular urban legend in 1610, for Shakespeare, the world (History of the happy faced with uncertainties, alive and full street of words in his essay has an inspired Centennial George Steiner) was an opportunity on which to build his work. To confirm the image of a Shakespeare scholar and retired in his late work, we el discurso inicial de Próspero:

To have no screen between this part he play’d
And him he play’d it for, he needs will be
Absolute Milan. Me, poor man, my library
Was dukedom large enough: of temporal royalties
He thinks me now incapable; confederates—
So dry he was for sway—wi’ the King of Naples
To give him annual tribute, do him homage,
Subject his coronet to his crown and bend
The dukedom yet unbow’d—alas, poor Milan!—
To most ignoble stooping.

La otra imagen que proporciona el libro es la del misterio, por supuesto, de los Sonetos de Shakespeare, todavía without chronology, still a win. Even his poems dated, as the narrative, still contains verses that are read as comments on how small Shakespeare read the classics. For example, The Rape of Lucrece (1594)

In Ajax and Ulysses, or What Might pyshiognomy Of Art
behold one

Or as his biography is filtered, as in Sonnet 23 :

As an unperfect actor on the stage,
Who with His fear is put Beside historical part,
Or Some fierce thing replete with too much rage,
Whose strength's abundancia weakens His own heart;

The book does not resolve these doubts, or other more famous grateful dealing with rigor (the death of Hamnet , the only son of the playwright, is treated from the neatness rather than from speculation, started by, among others, Samuel Taylor Coleridge ), but verifies some scams in his final chapter, such as Edmund Malone . Before foreshadow a man destined for posterity, which draws Chute slope is an artist of his time and his audience and given to get to know their world. What is, obviously, a triumph.

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Born July 4 (the Fourth Born of July, 1989, Oliver Stone)

Oliver Stone is your grammar.: crane shots and impossible to divine eye, long sequence shots that enhance the grandiloquent in his background, color games to illustrate the blood-and-the-pain past or possible, the assembly as a weapon. His speech is devilish and endless rhetoric, alarmist and hyper-expressive, even imaginative power. There are movies that seem born to Stone's controversial, but always playful. Murderers have their Natos , whose criticism I always thought was wrong and had been very interesting to focus on the portrayal of violence and his speech and having obtained a reading comparison to the Funny Games Michael Haneke. Another controversy is the glorious and oppressive JFK. But his fame comes thanks to his interest in making a chronicler of the United States in at least two fronts: politics and war. His own experience was the seed of Platoon (1986) and materials used to complete your perception of others in this film and The heaven and earth.

This film is a great rendition of Tom Cruise as Ron Kovic, a veteran author of the book in which it is based and co-writer of the film. Kovic's story is of a paralyzed soldier returning from Vietnam and embarking on a path to peace activism. Also of a man with problems of conscience whose experience in Vietnam left him as the murderer of a fellow and horrified by the killing of innocent peasants in one operation. Cruise starts a very interesting way: from all-american girl obsessed with war disillusioned adult, aging and suffering in the eyes of the beholder. As if the film itself seems designed to highlight the virtues of Cruise as an archetype and as a star and then carefully dismantled, this looks like a movie designed to make your talent shine and makes a great level. But the interest of the development of a personality draws near Kovic cartoon: a soldier Virgin, oppressed by a castrating mother whose fury underlines Stone the evil eye, returning crippled and therefore ineligible to sex, whose commitment to the cause increases as you discover decorative accessory for the government, engaged in cutting costs to the hopsital and leaving veteran conveniently relocated to the protagonist. But Stone is his rhetoric and even tap the kitsch here several times, breaking molds, dares to show a hilarious bout of lame and the failure of Kovic draw in their encounter with a Mexican prostitute. And there's a good idea behind this simplification: an American of conscience should be free of attributes, to stop being a man, a genuine hero, while his first official story is that of a noble fighter.

However, there is the movie that Stone discovered something new about the Vietnam conflict. War is dirty and cruel, but the best of the topics covered in this film is dealing with the man and his possible (im) powers.

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American Kitsch, oe, oe, oe

The last article of Armond White on film criticism offers nothing new. In their rhetoric, I guess well learned from Pauline Kael, add charges, quite intense and quite serious about the current situation. White can be fun, but his tendency to sensationalism and essentially dual thinking that seems to cry all the time their status as moral authority, disguised arguments learned more or less Frankfurt School and some studies of the media, do not disguise his usual boring Protestant and beyond the self-importance (the critic, of the mainstream, of anything).

However, it is true that cinema is about to debate and dangerously beyond sports. In sports are often won or lost, and the debate comes down to this: to handle wins and losses, to convert that into a moral state. It is rather childish and there lies its charm, but also the setbacks that often produce and tender difficulty for the management period in perspective. One of the most perplexing things about movies is the view constant use of stars, notes and thin rhetoric all complexity to shout from the rooftops something more visceral. Not so much a debate as an attachment and, as in football, is based on using the state of each team to claim a series of values. It's exhausting and dialectic. But it also reduces the movies, and any art, not a possibility to discuss in depth about our approaches to the movies, but a ridiculous competition.

I think it's certainly taking sides and I think a discussion is worthwhile when you learn interesting approaches to a work, even if they are negative. But it would be fun to see this flock of opinions, often prioritize American cinema more or less mainstream over any other production, acting decades as that of fifty or seventy. The fifties were probably the best decade for American cinema and it would be fun to see how a child's rhetoric could reduce the most unlikely successes. The fifties gave a glorious production of fabrics, also great contributions made in the studio system and is little more than endless for any film buff, but this seems an impossible abstraction or a poetic delirium in the hands of movie lovers Champions League as sinister: there can only be a winner and, at most, a list of awesome movie to fit on a top ten.

the country the other day surprised me with an article especially badass. Signed by Gregory came Belinchón, often publish interviews and reports (provided decent, some notable ) in the newspaper, and this tone was so strikingly characteristic of other contexts or sites. Though fans of Nolan have all my skepticism, I think on Inception lecture worth the time and although I appreciate it more like a blockbuster as something distinctly odd that a visionary, which is not even remotely. As a piece of humor, I can understand the tone of the article, but discuss many of the notions implicit (being the more worrisome considering the Godfather as summa has reached Hollywood in artistic fields.)

A very interesting article about online film criticism is that Paul Brunick published in Film Comment in two parts (Part 1 / Part 2). But, of course, there is tremendous trials. Also in that issue is critical a great social network (2010, David Fincher) signed by Scott Foundas. But it is a criticism devoted to explaining the roundness of a trial by a perception, quite cultured and iconoclast of American culture. There is no victory for anyone.

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under another flag



Buried ( Buried , 2010, Rodrigo Cortés)

should be credited to the great Rodrigo Cortés with at least two daring unexpected: first, to create a fable pre-economic crisis demiurges / supervillains absolutely visionary call Contestant (2007) and the second is to look at the script by Chris Sparling something like an authorial discourse.

This film is a virtuoso exercise set in a scenario in which the battle of Ryan Reynolds with thousands of voices becomes dead clever thriller with humor and love that intensify set to its most horrific, but also a kind of interesting comments on what the media called collateral damage (glorious euphemism for casualties): absolute distance from the socio-political climate, the ineffectiveness of security forces, unsentimental despair by the villain, a company that treats him as a significant economic loss and possible murder resolve bureaucratic and legal terms a conviction unmoved, and so on. Cortes seems to trust all the tools of his film and editing work is incredibly effective, quick cuts for the moments of shock, for crossings dream and others.

VICTIMS Placing the foreground, a prodigious Ryan Reynolds, many of these effects may be minor, but just think of the sadness of its end and the admirable fact that Cortés reinvents the cinema show with an address does not seem to stop about an imaginative planning and that seems to bring a vibrant account of anxiety and dangerous times of the minimum scenario reconstruction.: it is true that Hitchcock, one of the possible formal models of this thriller by the September piece of Tarantino in Kill Bill vol. 2 (2004) or Castaway (2000), was always a moralist's busiest human being while Cortes seems determined to make us notice the boundless connotations of a system doomed to entropy and impotence. The glorious dead end subject to the viewer to the lies of a world that neither he nor his character come to understand. Any glimmer of understanding may mean a fatal surprise, spurious.