Archives for 2005

This is my favorite moment from Citizen Kane:

A fellow will remember a lot of things you wouldn’t think he’d remember. You take me. One day, back in 1896, I was crossing over to Jersey on the ferry, and as we pulled out, there was another ferry pulling in, and on it there was a girl waiting to get off. A white dress she had on. She was carrying a white parasol. I only saw her for one second. She didn’t see me at all, but I’ll bet a month hasn’t gone by since that I haven’t thought of that girl.

I’m old enough to have memories like that, isolated flashes of recollection that light up the darkness of the past so intensely that you catch your breath. What’s more, I’ve found that the younger I was when the remembered event occurred, the more exact is my recollection today. Not long ago I ran across a CD reissue of a record I hadn’t heard in thirty years, the 1955 J.J. Johnson-Kai Winding performance of Let’s Get Away From It All, and I realized as I listened that I remembered the entire arrangement note for note, all the way from the intro to the shout chorus.

Much the same thing happened last night as I watched The Carol Burnett Show: A Reunion on Bravo. I was barely in my teens when I saw the skit in which Tim Conway played a maladroit dentist who injected himself repeatedly with novocaine while attempting to pull one of Harvey Korman’s teeth. I only saw it once–maybe twice–but when I viewed it again for the first time in decades, I was astonished to find that my recall of the skit was all but total.

I’m sure this says something about the receptivity of young minds, but I wonder if perhaps it might also tell us something equally important about the nature of art. Here is James Stewart, speaking to a British Film Institute interviewer in 1972:

I’m beginning to believe that, in films, what everyone is striving for is to produce moments–not a performance, not a characterization, not something where you get into the part–you produce moments that create a feeling of believability to what you’re doing….

I was making a Western in British Columbia and we were on the Columbia Icefields. It was raining and there was heavy mist around, so we couldn’t shoot, so we were all huddled around a fire. Suddenly, out of the mist, came a man, and he was not a young man. He had a beard–it wasn’t exactly a beard, he just hadn’t shaved for a while–and he was a miner type, he was dressed like a miner. He came closer to us and he said, “Which one of you is Stewart?”

“I am.”

He came over and looked at me and said, “Oh, yeah. Yeah. I recognize ya. Well, I heard you was here, and I thought I’d come up and say hello. I’ve seen a lot of your picture shows, but I think the one I liked best–you were in this room and your girlfriend was in the next room and there were fireflies outside, and you recited a piece of poetry to her. I thought that was a nice thing for you to do.”

And I remembered exactly the moment, exactly the film, who was in it, who directed it, and I also realized that that picture had been released twenty years before. That man made a tremendous impression on me. To think that I had been part of creating a moment that this man had liked and had remembered for twenty years. I’ll never forget it. That’s what I mean by the moment.

I know what he means–now. I’ve become Mr. Bernstein in Citizen Kane, a middle-aged man with a head full of fireflies, perfectly remembered pinpoints of laughter and sorrow, ecstasy and humiliation, that crowd my consciousness without warning. Would that I also had a few flashes of life-changing insight tucked into my album of mental snapshots, but I guess that’s not how memory works. No doubt I, too, will be thinking of Tim Conway when I’m on my deathbed, or the way Van Cliburn played “The Star-Spangled Banner” when I heard him give a recital at the Kansas City Municipal Auditorium in 1978, or the shy smile on the face of a pretty girl I once met by arrangement in a bookstore, not knowing what she looked like until the very moment of our meeting. I’ll bet a month hasn’t gone by since that I haven’t thought of that girl.

I’m in The Wall Street Journal today with a piece about Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax, a newly released box set from Rounder Records:

“When I was down on the Gulf Coast, in nineteen-four, I missed goin’ to the St. Louis Exposition to get in a piano contest….”

To the jazz aficionado, those prefatory words, spoken in a careworn Creole accent, are as evocative of a lost world as “You don’t know about me, without you have read a book by the name of ‘The Adventures of Tom Sawyer,’ but that ain’t no matter.” Jelly Roll Morton said them on May 23, 1938, sitting at a grand piano in the Coolidge Auditorium of the Library of Congress in Washington, sipping whiskey and softly vamping away at a tune of his own composition called “Alabama Bound.” Sitting nearby, discreetly manipulating two portable disc recorders, was Alan Lomax, a young musicologist employed by the Library of Congress who had had the brilliant idea of inviting Morton to talk about the origins of jazz.

Now Rounder Records has released Morton’s recorded reminiscences in an unabridged form for the first time on an eight-CD set called “Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax.” It is to jazz what the autobiography of Benjamin Franklin is to American history–only more fun….

No link. To read the whole thing, buy a copy of this morning’s paper, or go here to subscribe to the Online Journal. It’s a steal.

– Advance paid to William Faulkner by Smith & Cape in 1929 for The Sound and the Fury: $200

– The same amount in today’s dollars, courtesy of Inflation Calculator: $2,160.94

(Source: Jay Parini, One Matchless Time: A Life of William Faulkner)

“It is now 16 years since my first book was published, & abt 21 years since I started publishing articles in the magazines. Throughout that time there has literally been not one day in which I did not feel that I was idling, that I was behind with the current job, & that my total output was miserably small. Even at the periods when I was working 10 hours a day on a book, or turning out 4 or 5 articles a week, I have never been able to get away from this neurotic feeling, that I was wasting time. I can never get any sense of achievement out of the work that is actually in progress, because it always goes slower than I intend, & in any case I feel that a book or even an article does not exist until it is finished. But as soon as a book is finished, I begin, actually from the next day, worrying that the next one is not begun, & am haunted with the fear that there will never be a next one–that my impulse is exhausted for good & all. If I look back & count up the actual amount that I have written, then I see that my output has been respectable: but this does not reassure me, because it simply gives me the feeling that I once had an industriousness & a fertility which I have now lost.”

George Orwell, 1949 notebook entry (courtesy of Rick Brookhiser)

– Total budget for NBC’s original 1955 telecast of Jerome Robbins’ musical version of Peter Pan: $700,000

– The same amount in today’s dollars, courtesy of Inflation Calculator: $4,809,290.57

(Source: Harry Castleman and Walter J. Podrazik, Watching TV)

“As soon as I realized that some lawyers were paid more than others, I knew there was no justice.”

Frank Sheed (quoted in Wilfrid Sheed, Frank and Maisie: A Memoir With Parents)

Just in case you didn’t hear it the first time:

On December 6, I’ll be teaming up with litblogger Maud Newton and Sasha Frere-Jones of The New Yorker for a joint performance at Makor, the Upper West Side outpost of the 92nd Street Y. Our subject is “The Art of Online Criticism.”

Says the press release:

Cultural critics find themselves in the same predicament as other members of the traditional media who now must play a new game. Hear three influential critics who write both online and for print discuss how the cultural conversation is evolving and what the future holds when everyone’s a critic.

Bryan Keefer is the moderator. The show starts at seven p.m. Tickets are $12 in advance, $15 at the door.

For more information, or to buy tickets online, go here.

As usual, the joint’s been jumping since last we met. I took Supermaud to hear Hilary Hahn at Carnegie Hall last Thursday. On Friday I went down to Broadway for the press preview of Edward Albee’s Seascape, then hopped a train to Baltimore the next morning to catch a performance of No