Dance, the ephemeral art

Athough I normally avoid reality shows (because I'm not interested in dieters, dysfunctional families, or desperate "celebrities"), E-girl and I have been making our way through taped episodes of the current season of "So You Think You Can Dance" (SYTYCD).

Why? Because E-girl loves to dance. Even in utero, I realize now, she was trying to tap. She says she wants to be a professional dancer when she's older, for a few years, before she becomes a botanist and mom. She realizes there's an end to it already.

Is there any art more ephemeral than dance? Not just the performance, over in a few minutes. But the dancer's body itself—fleetingly supple and strong, particularly for ballet (and, probably, for break-dancing and hip-hop). Picasso was still producing art into his nineties, John Updike was writing and lecturing in his seventies. Old dancers can be teachers or choreographers, but if they still dance it's probably in solitude, without the audience they once hungered for.

Ironically, dance—the art form of motion—is the most static of art forms. It stays in place and can't be easily transported or transformed into another, more mobile medium. A painting can decorate a t-shirt or become a poster; a song can be heard while jogging or driving; words can become text which can become books or magazines or newspapers. Dance doesn't become anything else—it just is.

So the young people on SYTYCD may already be at their peak as dancers, or nearing it, which makes the dancing more precious and beautiful. You wish they didn't have to be judged and voted upon and eliminated, but could just be celebrated for their skill and enthusiasm.

I don't like the results show, the evening after the individual performances, where the dancers are lined up and told which ones got the lowest number of phone-in votes from the public. The bottom three are each given a minute to dance for their survival. I watch this part of the show with a finger on fast forward because it's too painful to watch, yet I still can't not watch it either. It's like a little death each week. And then the next week, the competition begins again and the cut performer is forgotten. The dance goes on.

(The illustration is a sepia-tinted snapshot of the "Hallelujah" dance from the first competition evening of this season's SYTYSD.)

Magazines I actually read: Smithsonian Magazine

Those who are regular readers of this blog may have noticed that I've been referencing Smithsonian magazine in recent posts. The reason is simple—my in-laws give us a membership to the Smithsonian every year, and the magazine comes free with the membership. But only in recent months have I become a steady and appreciative reader.

Unlike the New Yorker, the Smithsonian arrives in my mailbox once a month—perhaps it's most important characteristic for this harried reader. But the magazine also features gorgeous photographs (which, yes, means less text to burn through in one sitting) and, even better, frequent articles on literature and/or authors.

One of its regular features, "My Kind of Town," invites prominent authors to write about their hometowns or adopted cities. (You can access the feature from this link, and search past articles both geographically and alphabetically, by author. From this site you can also upload your own "My Kind of Town" submission, both text and photos.)

Recent articles written by and about well-known writers have included:

• Going Home Again (March 2010) - Joyce Carol Oates writes about the upstate New York town that influences much of her work;

• Mark Twain in Love (May 2010) The woman who, for Twain, was like Dante's Beatrice;

• Harper Lee's Novel Achievement (June 2010) [This was referenced in my June 21st post]

You can search its online archive for articles on:

• Books
• American Writers
• Literature (a broader subject category than books or American writers )

A full electronic archive of the magazine is available, from 2007 to the present.

However, despite my promotion of the magazine's web site, for me it's still a publication that is best approached tactilely, letting the pages fall open to a beautiful photograph or an unexpected revelation.

Why it sucks to be a (visual) artist

"The Wilkersons’ costliest board was the 1972 painting Water Dreaming at Kalipinypa, a dazzling patchwork of stippled, dotted and crosshatched shapes, bought in 2000 for some $220,000—more than twice the price it had been auctioned for only three years earlier. The painting was done by Johnny Warangkula Tjupurrula, an original member of the Papunya cooperative and one of its most celebrated. Sadly, the artist himself had long been overlooked; in 1997, an Australian journalist found Warangkula, by then old and homeless, sleeping along with other Aboriginal people in a dry riverbed near Alice Springs. Though he reportedly received less than $150 for his best-known painting, the publicity surrounding the 1997 sale revived his career somewhat..."

From: Contemporary Aboriginal Art, Smithsonian Magazine, January 2010.

To overkill a mockingbird: fiction creates a new geography

This year is the 50th anniversary of the publication of To Kill a Mockingbird, which is getting a lot of press. Invariably, in the articles I've read so far, the authors lament the commercial enterprises in Monroeville, Ala., (Harper Lee's hometown) that have sprung up as a result of the book. These include: the Mockingbird Grill, Radley's Fountain Grille, the Mockingbird Museum, and all the Mockingbird trickets, t-shirts, hats and tote bags that are sold there at local gift shops.

I was going to join the tsk-tsking of this exploitation and then it struck me—it's actually kind of cool that what began as two-dimensional type (and fiction at that!) has now reshaped a physical environment. Admittedly, it's not what Lee might have wanted, but one still has to give a shout-out to the power of the word on the page. How many authors' works are celebrated this vividly and on such a constant basis? Those businesses sprung up because fans of the book continue to make pilgrimages there and obviously they want to buy a memento of their time there and relive moments from the book.

But my elation with fiction creating a new geography was only momentary. Lee still lives in Monroeville. When she steps out, she is confronted with what really is a bastardization of her ideas, a tacky echo of the decades-ago outrage and intent that went into her book. She is stuck in Mockingbird-ville, physically and intellectually. The success of Mockingbird also probably stymied her future writing, according to Harper Lee's Novel Achievement, an article in the June 2010 Smithsonian magazine.

Compare Monroeville to Asheville, NC (at least the Asheville I knew 28 years ago...)—the setting for Thomas Wolfe's early novels. The boarding house that Wolfe had grown up in and which he had featured in Look Homeward, Angel was still there. You could pay to walk through and see place settings, linens and furniture from his era (perhaps some actually original); there was a Thomas Wolfe playhouse nearby. That was it, as far as I remember. No gift shop selling plastic angels, no t-shirts with Wolfe's visage or quotations from his books. I sometimes drove over to the boarding house after-hours and sat on the porch, undisturbed. [I think the boarding house burned down a few years ago—I'm not sure if it was rebuilt...]

What's the difference? Look Homeward, Angel has never been as perpetually popular as To Kill a Mockingbird—as far as I know, it's not on any high school required reading lists as Mockingbird still is (perhaps it's never been a high school English assignment because of its length, or its lack of message). But the bigger difference, I think, is that Asheville had more going for it; it already had the Blue Ridge Parkway nearby and the Biltmore Estate, and lots of rich people retiring there. It didn't need Wolfe nearly as much as Monroeville obviously needed Lee.

I'm glad to see physical spaces that celebrate writers and writing, but it's probably better for the writers if the celebrations begin after they've left the town or the living—otherwise the celebration can become a trap.

* * * * * * * * * *

I was going to make a list of other destinations for literary pilgrimages, but of course someone else has already done it. I found a nice list, with additional recommendations from readers, on the Mental Floss blog: Book Your Trip Now: 12 Literary Pilgrimages.

The poetry of the dead zone

Many times in the past, I'm sure, I rolled my eyes if I saw an old person poring over the Obituaries section in the newspaper. I thought it was morbid, their trying to find a familiar face or life, perhaps also trying to see who among their elderly friends had made it through another week.

But more and more these days, my eyes are drawn to that section of the Washington Post. Maybe it's because I am getting older and I've begun to occasionally see the names of acquaintances and neighbors there. That's not the only reason, though. I've started to see beauty in the brief prose that sums up a life.

Read past the horrifyingly succinct labels in the sub-heads (e.g., "Teacher," "Jewelry Maker," "Guidance Counselor," "Church Member") and you can see a road map of a life in retrospect:

• The "Church Member" assisted amputees for the Red Cross during WWII. (How?)
• The "Jewelry Maker"'s first marriage ended in divorce. (Why?)
• The "Guidance Counselor" danced professionally when she was young; her husband died 13 years before she did. (Did she miss him? Did she miss dancing?)

Most obits in the Post are written in the same four or five-paragraph format: (First p.) the person's full name, age, cause of death, and current town; (Middle paragraphs) significant events and achievements—jobs, degrees, volunteer positions; (Final p.) survivors. Were they happy? Bitter? Anxious? Regretful? Loved? The obits never say. The story, the poetry even, is in the words not written, the broad and full life that cannot be described so formulaically.

More distinct are the "In Memoriam" boxes that people put in the paper, usually on the anniversary of their loved one's death or birthday. The most heart-wrenching "In Memoriam" ads are those to children. On the first anniversary of an 11-year-old's death, her family ran a photo of her with the dates of her life beneath, and then the text of something she must have written shortly before she died: "If I were President...I would stop war. I would also want to try to stop pollution. If I can stop it, I will."... Is there anything more tragic than what is contained in these four column inches?

I still remember an "In Memoriam" I read a couple of years ago; beneath the photo of an ordinary-looking middle-aged man who had died five years before were these words: "I would give one year of my life to spend another day with you." That's a story there that could be written a hundred different ways by a hundred different people. Even the person who placed that ad could describe her life/their life a hundred different ways—and the story would never be completely and fully told.

Novel conclusions

That weird Lost finale a couple of weeks ago continues to spark my interest in how creative works reach a conclusion. I mentioned memorable TV show endings in my last post—but what about works of fiction?

Is there a written ending equivalent to Bob Newhart waking up next to the wife from his first show in his second show's finale? Or, would something like that come off too gimmicky or ridiculously absurd in a non-humorous way? (Because it really is a variation on the old "and then he woke up..." ending).

The story-with-a-twist seems better suited to shorter fiction than novels, perhaps because the reader is more invested with a longer work and would feel let down if the conclusion didn't spring somehow from all that went before. The unexpected ending works for O. Henry stories but after awhile the reader begins to expect them (making the surprise actually unsurprising). I love "The Twilight Zone" but I wouldn't want to watch it every night, nor would I want all shows (or written fictional works) to follow its usual be-ready-to-be-shocked format.

(Don't all good poems end with a little bit of surprise, though? In the best poems, the final lines can be astonishing.)

I know that the journey through a fictional work is as important, or more important, than its final pages. But there are endings I remember and relish remembering (from both novels and short stories). These are the first that came to mind as I began to ponder this topic:

(SPOILER ALERT)

He loved Big Brother. (1984)

His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead. ("The Dead" by James Joyce)

I do. What a hat! I like it! I like that party hat! Good-by! Good-by! (Go, Dog, Go)

"I saw them come out and I saw that they were naked, unshy, beautiful, and full of grace, and I watched the naked women walk out of the sea." ("Goodbye, My Brother" by John Cheever)

"I'll pray that you grow up a brave man in a brave country. I will pray that you find a way to be useful. I'll pray and then I'll sleep." (Gilead)

"It is Clarissa, he said. For there she was." (Mrs. Dalloway)

There were many others that were too long to include, or which didn't end quite the way I remembered them (I thought Rabbit Angstrom's last words were about his dead daughter—but, no; I thought Madame Arnoux let down her white hair for Frederick in the last passage of A Sentimental Education, but that was pages before, etc.).

And now I come to a place where I must write a conclusion to this post—I've gone way over my usual eight inches of screen space, but I can't think of a graceful exit. The phone isn't ringing, no one is at the door, the tea kettle hasn't been put on the stove.

It is 9 a.m. and I must begin my day.

Memorable endings on TV

Since the "Lost" finale, I've been thinking about memorable TV show finales. Apparently I'm not alone. I googled "memorable TV show endings" and found links to lots of critics and bloggers weighing in on the same topic.

The freshest commentary on memorable endings that I found was on the NPR "Day to Day" web site and its related blog—that's probably because the show ends today and for the last few days they've been discussing endings there. One segment, A Critic's Favorite Final Episodes, discusses three memorable endings: from "Six Feet Under," "The Sopranos," and "Seinfeld." A related blog post, Final Episodes by Jason DeRose, provides footage to the last moments of the shows discussed. Again, "Six Feet Under" is listed among the favorites.

I also would list "Six Feet Under" among my favorite TV show endings—those brilliant last six minutes helped me forgive the screenwriters for the preposterous/maudlin storylines from its last two seasons. (However, if you watch it via the link above, you're probably not going to find it very affecting unless you've watched the show and are familiar with the characters and the fact that each one of the 63 shows in the series began with a death). After I saw it the first time, I rewound it and watched it over and over—the daughter driving through the California desert while each of the main characters lives' are summed up in moments of film was wrenchingly beautiful to me.

I applaud those writers/screenwriters who can create an ending that's innovative, especially when it offers a fitting conclusion and isn't just there to shock or dismay its viewers. Among the latter, I'd include "Twin Peaks," when Agent Cooper becomes Bob; the "Colbys," where Fallon is stranded on a highway and abducted by aliens; and "The Prisoner," where he lifts a mask off a man's face to find himself, and then he drives away... unless he's driving towards the same fate over and over.

In the fresh, creatively appropriate category I'd include "Seinfeld," "St. Elsewhere," and "Newhart" (which I admit I never watched except for those much-acclaimed last few minutes).

Of course, perhaps my list would be longer if I had premium cable—I've never watched "The Sopranos" and am currently, slowly making my way through "The Wire" on DVD via Netflix—and if I watched any kind of TV on a regular basis.

In a future post, I hope to look at both cliched and memorable endings—and beginnings—of fictional works.

Lost ending

Back in October, I wrote a post about how the TV show "Lost" would end. I had no predictions, given that I was not a steadfast fan (I mostly quit watching after the second season), but I was excited about how the writers were going to finish the tangled mess it had become. I fiercely hoped the writers wouldn't pull a dumb, soap opera-ish deus ex machina ending, or use one of those moldy old "then they woke up" hat tricks overused by desperate writers in the past.

I watched the last hour of the final show the other night and to be perfectly honest, I'm not sure how it ended or what it meant. My spouse, who has watched every show, sometimes twice, wasn't exactly sure either, so I can't attribute my ignorance entirely to my lack of "Lost" knowledge.

Of course the writers wanted to leave viewers talking and wondering, I'll give them that. But I'm not even sure that they knew what it meant or that the multiple conclusions were consistent with each person's island story line and alternative reality. Were they in purgatory all along or only in their alternative realities, or was the last couple of seasons Jack's fantasy as he lay dying?

Yet I must say I admire the nested framework they succeeded in creating, how the final shot of Jack dying in the bamboo forest is a near-perfect reversal of Jack waking up in the bamboo forest after the plane crash from the first episode. Someone has posted a video comparing the two endings, the final running forward and the first running in reverse, which I'll embed below.

The writers have said that they meant to finish the show in this way all along. It's a neat trick, whether it really means anything or rightly concludes the show.

Celebrity writers

CBS Sunday Morning had a Mo Rocca segment today on comedians and actors who perform dramatic readings of celebrity writing in a New York theater show called Celebrity Autobiography.

The writing used in the show is so bad you wonder how it managed to get published. The autobiographies were all ego, no eloquence. How could it be this bad with ghost writers and editors in on it?

The worst writing that was presented, hands down (pun intended) was from "Touch Me," a collection of poetry from Suzanne Somers (analyzed among other celebrity poets in a 2008 Huffington Post article). Here's an excerpt:

Suppressing my inner-Andy Rooney

In my last post, I tried to get all philosophical about the ridiculous cost of private colleges, and how this is going to push out more creative poor kids. Or something like that.

But what I really wanted to do was to launch into an Andy Rooney-esque kvetch about the high cost of things these days, which would have sequed into a "back in the good old days" essay on how I only paid $5000 for a year at Johnston College in the late 1970s (and thought that was way too much back then).

The constraints of this blog, physically and thematically, kept me from veering in that direction. I generally keep my writing to under 8 inches of text onscreen, and I try to incorporate some idea about writing or creativity in each post since that's what my blog's description says I do. (How do kids pay for college these days? Not really on topic.)

Sometimes those constraints work to my benefit, much like how the particular form of a poem—a sonnet, a sestina—can free a poet to dig into a stockpile of memories in response to the metrics or rhyme.

Yet at the same time I often leave out tales from my personal life, or details of my thoughts at a particular time—which I suppose is what a typical blog is supposed to be.

To be honest, much of my life these days has nothing to do with writing or creativity. I am too-busy being a mother, an editor, a volunteer. I am driving a lot on narrow/winding or busy roads getting somewhere and then, later, somewhere else. So it's ironic that I focus here on creativity when many recent days have passed in which I didn't get to do a single creative thing or write anything more than an email or a check.

I could say more here about my frustration at not getting to write, but the world really doesn't need another Andy Rooney and I don't want to waste my precious free time on writing about not writing.

I'll write about Johnston College in another post...