A vividly eccentric and entertaining posthumous collection of essays, interviews, scripts, cartoons, and fragmentary jottings from one of the granddaddies of American avant-garde filmmaking. Best known for the underground (and much banned) classic Flaming Creatures, Smith possessed a highly original, camp- inflected aesthetic that inspired everyone from Andy Warhol to Robert Wilson. Consider his synopsis of the grand finale of his film Sinbad in the Rented World: ``In the confusion of the climatic [sic] roach stampede, the Lobster in his final priestly disguise with the forehead-earring of exoticism in his back pocket, is drowned in Plaster Lagoon and now is hardened over.'' As this illustrates, Smith's work was informed by a unique, gnomic argot and set of stylized obsessions bordering on fetishism. Hoberman (film critic for the Village Voice) and Leffingwell (curator for an exhibition about Smith that will open this spring) helpfully provide a kind of field guide to this world where ``Lobsters'' are greedy landlords, ``mynah birds'' are imitators, and the phrase ``scum of Bagdad'' is a term of high praise. But the queen of Smith's universe was the 1940s B-movie actress Maria Montez. Not only did she ``feature'' in many of Smith's films, she also inspired his aesthetic theories. In a seminal 1962 essay, included here, Smith turns the conventions of Hollywood film upside down. Naturalistic acting (``reptilian acting'') is bad; bad acting is good; visuals are everything and script/dialogue only get in the way; and kitsch is noble and uplifting. Though the issues it raises are far from settled, this ringing defense of ``pure cinema'' anticipates not only Pop Art but postmodernism as well. Much of the rest of this collection is either a reiteration or an elaboration of these core theories. Smith is perhaps too obscure for the general movie-going public, but as these pieces ably demonstrate, he is an important part of the American avant-garde tradition.
Pub Date: March 1, 1997
ISBN: 1-85242-428-1
Page Count: 182
Publisher: Serpent’s Tail
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 1997
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
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