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A friend of mine is a bartender, and I hadn’t seen him for a while, until last week. It’s fun to watch him bring over two decades of experience to bear on the opening of a bottle of beer or the making of a margarita. Traffic wears a groove into things, and repeated motion turns effort into function. Function, when effortless, which is to say when, through repetition, it becomes a pure expression of effort, can be beautiful. If you’ve ever watched a field being mowed by hand, with a scythe, you know what I mean.
We don’t have, I don’t think, many opportunities these days simply to watch simple things done well. Virtuosity is left to the virtuosi: Favre connecting, Bill T. Jones a-leaping, Perlman Baching—all impressive, but an impressiveness that leaches the layman of any sense of approachable, and therefore agreeable, mastery on a mortal scale.
Odd, then, that in reading the introduction last night to the 1983 edition of V.S. Naipaul’s A House for Mr. Biswas, I didn’t register a sense of the Olympian pressing down upon the quotidian. Odd, of course, given all we’ve lately (not to say long) heard about Naipaul’s self-regard. Naipaul discusses the writing of that novel in a very humble way, not falsely humble, but very much a matter of building a wall, finely and slowly. A process worth hearing about: a force becoming a form.
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
Amount Greece’s ruling Syriza party believes that Germany owes Greece in war reparations:
Americans of both sexes prefer the body odors of people with similar political beliefs.
Tens of thousands of people marched to promote science in cities across the world, and Trump issued an Earth Day statement in which he did not mention climate change.
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"It is an interesting and somewhat macabre parlor game to play at a large gathering of one’s acquaintances: to speculate who in a showdown would go Nazi. By now, I think I know. I have gone through the experience many times—in Germany, in Austria, and in France. I have come to know the types: the born Nazis, the Nazis whom democracy itself has created, the certain-to-be fellow-travelers. And I also know those who never, under any conceivable circumstances, would become Nazis."