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Last night was the annual American devotional exercise to the
excesses of second-class storytelling. I
didn’t watch, so won’t bag on the particulars, much less the idea of
such a celebration. It’s very likely that if I had watched I would
have wept a joyous plenty: when it isn’t purely ridiculous (“you’re
the next contestant on… the Price is Right!”) it is
uncomplicatedly moving to watch people get good news (a version of
I’m guessing). Even so, most movies, especially movies that are well
received, are terrible, for reasons that the Oscars make routinely
obvious, both by what films they omit and of course select. Benjamin
was, to my mind, high flown garbage of a very pure
an excellent example of the triumph of technique over storytelling
What can be accomplished without $160 million dollars isn’t surprising
at all, and it’s always nice to see something short and authentically
moving that doesn’t require any effects more special than syntax and
something to say. Granta, for example, has a new issue devoted to
“Fathers”. Many good short
pieces by a range of writers including Jonathan
Joseph O’Neill, Siri
and Francesca Segal.
My favorite in the issue is by Ali
Smith. I haven’t read
her novels but
now will. Her brief “Portrait of my Father,” contains this paragraph:
My father, one afternoon, sat at the dinette table, unscrewed my talking bear whose cord had broken, and screwed it back together. It worked. ‘When people are dead, graves aren’t where to ?nd them. They’re in the wind, the grass.’ That’s the kind of thing he said. When I asked him what you do if you see something in the dark that frightens you, he said, ‘What you do is, you go up to it, and touch it.’ When things went wrong in the neighbourhood, people would come to my father for help. When we went to visit an old neighbour last autumn, in her eighties too, she called him Mr Smith. ‘Call me Donald, now, Chrissie,’ he said. She shook her head. ‘You’ll have another biscuit with your tea, Mr Smith,’ she said.
And not much more. A deceptively simple recollection, that ends like a
Russian gymnast nailing a dismount. Deceptive ease, real power, and
nothing extra. The whole thing takes three minutes, and will brighten
your Monday. Read it here.
More from Wyatt Mason:
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”