Skip to main content

Letter to Scott Rosenberg (7 July 2009)

(From Salon letters)

Scott, you're making quite an effort to redeem blogs in your book (still not so sure about the "they're like phone calls to your mother" sell job, but still . . .), so you shouldn't be surprised that some are sensitive to the possibility that however much you aim to redeem them, to be fair to them, you might by your actions work to reinforce the presumption/assumption that if you're REALLY serious, truly someone to be taken seriously, you're not JUST to be associated with blogs--Being an active blogger while you also write books is fine, perfectly respectable, if not ideal in this interconnected, wired world, but just blogging means never really being assessed by adults as more than just the nerd in the parent's basement. (I could even see GG make a move to write a book at some point, to--in part--make him more comfortable to a crowd wanting to include him as one of them, to imagine himself as reputable beyond contention.)

[Update: checked--he does have a book.]

There is quite the conversation at OS concerning concerns you might at heart be akin to the veteran comedian who professes his ongoing love for comedy, but who is noticeably making sure he is more-and-more associated with the established, the long reputable, and away from the fluff.

Link to OS discussion here.

Comments

Popular posts from this blog

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   


2) When Wade/Deadpool and Vanessa are excha…

"The Zookeeper's Wife" as historical romance

A Polish zoologist and his wife maintain a zoo which is utopia, realized. The people who work there are blissfully satisfied and happy. The caged animals aren't distraught but rather, very satisfied. These animals have been very well attended to, and have developed so healthily for it that they almost seem proud to display what is distinctively excellent about them for viewers to enjoy. But there is a shadow coming--Nazis! The Nazis literally blow apart much of this happy configuration. Many of the animals die. But the zookeeper's wife is a prize any Nazi officer would covet, and the Nazi's chief zoologist is interested in claiming her for his own. So if there can be some pretence that would allow for her and her husband to keep their zoo in piece rather than be destroyed for war supplies, he's willing to concede it.

The zookeeper and his wife want to try and use their zoo to house as many Jews as they can. They approach the stately quarters of Hitler's zoologist …

"Life" as political analogy, coming to you via Breitbart News

Immediately after seeing the film, I worked over whether or not the movie works as something the alt-right would produce to alienate us from the left. Mostly the film does work this way  -- as a sort of, de facto, Breitbart production -- I decided, though it's not entirely slam-dunk. There is no disparagement evident for the crew of the space station being a multicultural mix, for instance. Race is not invisible in the film; it feels conspicuous at times, like when the Japanese crew member is shown looking at his black wife on video conference; but the film maker, wherever he was actually raised, seems like someone who was a longtime habitat of a multicultural milieu, some place like London, and likes things that way. But the film cannot convince only as macabre relating to our current fascination with the possibility of life on Mars -- what it no doubt pretends to be doing -- because the idea of “threat” does not permeate this interest at all, whereas it absolutely saturates our …