Jim Jarmusch’s film Only Lovers Left Alive is excellent.
Moody, sometimes funny, always gorgeous, and largely plotless, the film centers on two vampires—Adam and Eve, played by Tom Hiddleston and Tilda Swinton—who fill their long lives with music, literature, and love. At its core, the film is an elegiac love song to aesthetic originary creation in the age of the curator.
What really interests Jarmusch is immortality, or at least longevity. How would we behave if we lived for centuries, and were free to do pretty much anything we wanted? What sort of aesthetes and collectors might we become? … In this world, the vampire’s primary function is to appreciate the things we humans take for granted; they’re much more like curators than monsters.
Eve’s curatorial powers are enviable—she merely has to touch an object to know its age (and quality). She touches Adam’s beloved Gibson guitar, declaring “1905.” As she packs her suitcase full of books (Don Quixote, Infinite Jest, and Kafka all make the cut), she scrolls her fingers through pages briskly but lovingly, seeming to absorb each one instantly.
Adam’s curatorial impulses manifest in his collection of antique musical and electronic equipment, his claustrophobic crumbling mansion a mad scientist’s lab of sight and sound. Adam creates plodding dirges, death songs, elegies for the end of romance. Reclusive cult hero, he hides in the outskirts of Detroit from his growing fanbase who demand to know who made this music. Like Wyatt, the masterful forger of William Gaddis’s novel The Recognitions, Adam wonders what people want from the person that they couldn’t get from the work of art. Still, as he mournfully complains to Eve, Adam wants a reflection, something to echo back to him. His fans—the “zombies”—are not enough.
Eve’s library and Adam’s studio allow Jarmusch to perform his own curatorial impulses. On one wall in a room of Adam’s mansion hang the portraits of dozens of writers and musicians, including Blake, Poe, Twain, and Christopher Marlowe. Marlowe it turns out is a vampire—and the real author of Shakespeare to boot.
It might be tempting to accuse Jarmusch of merely providing fan service for hipsters, but there’s more going on here than simple name-checking. Adam’s wall isn’t simply a shrine for hero-worship. Instead, it feels like a gallery of family portraits. Continue reading “Curation and creation in Jim Jarmusch’s vampire film Only Lovers Left Alive”
Vítězslav Nezval’s 1937 poetry collection The Absolute Gravedigger is new in English translation by Stephan Delbos and Tereza Novická, thanks to Twisted Spoon Press. As usual, Twisted Spoon’s edition is a beauty, including some of Nezval’s original illustrations.
The Absolute Gravedigger seems comprised of seven “books,” and I ended up barreling through one of them, Bizarre Town, in one sitting. Nezval’s surrealist poems are seemingly spare, but the parts jar against each other in unsettling ways; Bizarre Town evokes Bosch, or Goya’s etchings.
You might know Nezval as the author of Valerie and Her Week of Wonders, which was adapted into a marvelously disturbing 1970 film by Jaromil Jireš.
More to come as I read more, but for now, here’s Twisted Press’s blurb:
The Absolute Gravedigger, published in 1937, is in many ways the culmination of Vítězslav Nezval’s work as an avant-garde poet, combining the Poetism of his earlier work and his turn to Surrealism in the 1930s with his political concerns in the years leading up to World War II. It is above all a collection of startling verbal and visual inventiveness. And while a number of salient political issues emerge from the surrealistic ommatidia, Nezval’s imagination here is completely free-wheeling and untethered to any specific locale, as he displays mastery of a variety of forms, from long-limbed imaginative free verse narratives to short, formally rhymed meditations in quatrains, to prose and even visual art (the volume includes six of his decalcomania images).
Together with Nezval’s prior two collections, The Absolute Gravedigger forms one of the most important corpora of interwar Surrealist poetry. Yet here his wild albeit restrained mix of absolute freedom and formal perfection has shifted its focus to explore the darker imagery of putrefaction and entropy, the line breaks in the shorter lyric poems slicing the language into fragments that float in the mind with open-ended meaning and a multiplicity of readings. Inspired by Salvador Dalí’s paranoiac-critical method, the poems go in directions that are at first unimaginable but continue to evolve unexpectedly until they resolve or dissolve – like electron clouds, they have a form within which a seemingly chaotic energy reigns. Nezval’s language, however, is under absolute control, allowing him to reach into the polychromatic clouds of Surrealist uncertainty to form shapes we recognize, though never expected to see, to meld images and concepts into a constantly developing and dazzling kaleidoscope.
Just before dawn knocking comes very loud, hard as steel. Slothrop has the sense this time to keep quiet.1
“Come on, open up.”
“MPs 2 , open up.”
American voices, country voices, high-pitched and without mercy. He lies freezing, wondering if the bedsprings will give him away. For possibly the first time he is hearing America as it must sound to a non-American 3. Later he will recall that what surprised him most was the fanaticism, the reliance not just on flat force but on the rightness 4 of what they planned to do… he’d been told long ago to expect this sort of thing from Nazis, and especially from Japs —we 5 were the ones who always played fair—but this pair outside the door now are as demoralizing as a close-up of John Wayne (the angle emphasizing how slanted his eyes are, funny you never noticed before) screaming “BANZAI!” 6.
“Wait a minute Ray, there he goes—”
“Hopper! You asshole, come back here—”
“You’ll never get me in a strait jacket agaaaaain… .” Hopper’s voice goes fading around the corner as the MPs take off in pursuit.
It dawns on Slothrop, literally, through the yellowbrown window shade, that this is his first day Outside. His first free morning. He doesn’t have to go back. Free? What’s free? He falls asleep at last. A little before noon a young woman lets herself in with a passkey and leaves him the papers. He is now an English war correspondent named Ian Scuffling 7.
1 Slothrop has fled the clutches of The White Visitation and made out for Nice, where he hooks up with Blodgett Waxwing’s contacts in a squalid safehouse…the safehouse is actually closer to a madhouse though, or a halfway house.
2 Military Police—a concept that perplexed me when I was five or six, watching MASH reruns with my father. MASH is kinda sorta (slightly) Pynchonian, actually.
3 A fascinating notation.
Some jingoists would insist, of course, that no decent American (i.e., a Real American) ought to hear America the way it must sound to a non-American. Slothrop has already posed as an Englishman, but there’s a bit of a conversion here, I think—a shift for our shifter, who’s moving from not simply performing a double-agency to actually existing (or non-existing) one.
Cf. Walt Whitman’s 1860 poem “I Hear America Singing”:
I hear America singing, the varied carols I hear,Those of mechanics, each one singing his as it should be blithe and strong,The carpenter singing his as he measures his plank or beam,The mason singing his as he makes ready for work, or leaves off work,The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck,The shoemaker singing as he sits on his bench, the hatter singing as he stands,The wood-cutter’s song, the ploughboy’s on his way in the morning, or at noon intermission or at sundown,The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing,Each singing what belongs to him or her and to none else,The day what belongs to the day—at night the party of young fellows, robust, friendly,Singing with open mouths their strong melodious songs.
I, too, sing America.I am the darker brother.They send me to eat in the kitchenWhen company comes,But I laugh,And eat well,And grow strong.Tomorrow,I’ll be at the tableWhen company comes.Nobody’ll dareSay to me,“Eat in the kitchen,”Then.Besides,They’ll see how beautiful I amAnd be ashamed—I, too, am America.
4 When we most believe we are right we are most susceptible to being wrong. Unconsidered belief is terrifying.
5 Pynchon is too often accused of obscurity; his critique of blind patriotism and government propaganda is so clear that it hardly warrants this footnote. So I’ll comment, rather, on his brilliant modernist style—note the shift here, via free indirect speech, from third-person to first-person, from “he” to “we.”
6 I’m admittedly confused here—does the narrator attribute the expression BANZAI! to the MPs, or to John Wayne? I think what we have here is a conflation of both (which is to say a conflation of the third-person “he” with the first-person “I”—in other words, Slothrop, now attuned (or detuned) to “hearing America as it must sound to a non-American” can recast his country’s jingoistic martial fantasies and see/hear the Hero of the Military-Industrial-Entertainment Complex (John Wayne) as a cartoonish, racialized war trope).
In Japanese, the term banzai translates as ten thousand years, but basically means, as I’m sure you know, something like “Hooray.” During WWII, banzai was an attack cry for Japanese soldiers (review the independent clause after the ellipses in Pynchon’s original sentence).
Is BONZAI! here a strange transposition of GERONIMO!, an exclamation cribbed by U.S. Army parachutists from a 1939 film of the same name?
The ironic notation of John Wayne’s “slanted…eyes”seems like a nod to the notorious 1956 flop The Conqueror, which featured John Wayne as…Genghis Khan.
And speaking of BANZAI—
Have you seen the Pynchonesque 1984 film The Adventures of Buckaroo Banzai Across the 8th Dimension? It is good fun.
(W.D. Richter, director of Buckaroo Banzai, also co-wrote Big Trouble in Little China, in which Kurt Russell did a good/bad John Wayne impression).
7 Slothrop’s always shuffling off identities—or shuffling into them. Here, we get Ian Scuffling, his English journalist identity (for a few dozen pages). Scuffling…shuffling…? Let’s get the etymology.
From Joseph T. Shipley’s The Origin of English Words: A Discursive Dictionary of Indo-European Roots (1984):
I need to write a proper riff on William Friedkin’s astounding 1977 film Sorcerer—I’m pretty sure I didn’t see a better film this summer—nor have I seen anything that zapped me with that How the hell haven’t I seen this yet? feeling since Michael Mann’s Thief. But as the summer ebbs and a new year of a full teaching load approaches, I’m not sure if I’ve got a spare three hours to watch Sorcerer a third time any time soon (the third viewing was perfect, by the bye). It’s great though. It’s about four dudes, exiles, trying to move nitroglycerin in two old trucks across a mountain in an unnamed South American country.
I had scratched out some notes on the first viewing though, which I won’t bother to cobble together here in anything other than a silly list, which I hope to mine later in Something Bigger on Sorcerer:
- Metaphors of postglobal cooperation in the cause of self-interest.
- Multilingual, but postlingual: Film as language. Sorcerer as its own language.
- Post-WWII; somehow hasn’t absorbed the Vietnam War.
- Like Herzog, here is a depiction of nature that conveys the sublime while stripping from it the romance, leaving only the horror and awe.
- Comments on its own engineering, its own technological processes (like Herzog’s Fitzcarraldo).
- But also, its focus on engineering points backwards (The Bridge on the River Kwai) and forwards (uh, the Fast/Furious franchise? —but not fast here; no: slow).
- (Clearly the double feature of Fitzcarraldo).
- Postglobalism — terror, crime, religion, economics, class, “high” art, — all the shit that’s dealt with in the first 30 min — is subsumed into nature vs techne — a kind of nihilsm against nature pointing at the current century.
- IT’S ALL ABOUT ENGINEERING!
- Unself-concious postmodernism, before postmodernism is properly “postmodernism”: That Friedkin is perhaps working in Modernist idioms (all the noir touches, the irony, the hallucinations, the cuts, etc.), but produces something we might describe as “postmodern.”
- That end — tragic, ironic, pathetic, bathetic—and a loop! (sort of)—Friedkin’s film ironizes the Romantic touches, the Bogart shadows.
- (Watch it again).