Raconteur Orson Welles riffs on a number of subjects in these short commentaries, which originally aired on the BBC in 1955. Topics include earthquakes, curses, police work, negative reviews, Martians, magic, etc.
Who are your favorite writers?
I don’t make lists or rank writers. I can only say which ones are relevant to me. Salinger holds my attention, Yates holds my attention. John O’Hara doesn’t, I don’t know why—it’s the same environment, but he doesn’t. Cheever holds my attention more than any other writer. He is in every aspect of Mad Men, starting with the fact that Don lives in Ossining on Bullet Park Road—the children are ignored, people have talents they can’t capitalize on, everyone is selfish to some degree or in some kind of delusion. I have to say, Cheever’s stories work like TV episodes, where you don’t get to repeat information about the characters. He grabs you from the beginning.
Poems have always held my attention, but they’re denser and smaller. It’s funny because poetry is considered harder to read. It wasn’t harder for me. Close reading, that is. Milton, Chaucer, Dante—I could handle those for some reason, but not fiction. From ninth grade on, I wrote poetry compulsively, and pushed myself to do iambic pentameter and rhymes because free verse was cheating—anybody could do that. But I was such a terrible student. I couldn’t sustain anything.
Fascinating interview with Mad Men creator Matthew Weiner in The Paris Review. I would’ve predicted the Yates and the Cheever (and Updike too, whom he doesn’t name), but not the poetry (Weiner goes on to detail his years writing poetry). My wife and I have been, uh, binge watching I think is the phrase the kids are supposed to be saying, although I don’t think the kids say it, I think culture reporters made it up—anyway, my wife and I watched the first season of Mad Men this week (hadn’t watched nary a rerun since it aired). It holds up pretty well, despite some soapy moments, cliches, and broad strokes.
1. So usually after I watch the newest episode of True Detective—this week, that means episode five, “The Secret Fate of All Life”—usually I rewatch the episode and then want to write about it and feel stymied. Last week, I had to (was compelled to) rewatch “Who Goes There” immediately after the first viewing.
This is a long lead up to saying, basically, that I haven’t gotten to rewatching “The Secret Fate of All Life” yet, because this episode compelled me to go back to the beginning, to start from “The Long Bright Dark.”
2. So some quick thoughts on “Secret Fate” (with the caveat that I haven’t rewatched it, along with the caveat that these riffs are written to an audience which has already watched the show):
3. The major theme of “Secret Fate” is time. This episode argues that time is an illusion (just as earlier episodes argued that identity is an illusion)—that time is a trick of perception. Continue reading “A Rambling Riff on True Detective”