The Importance of the Unimportant — Dwight Garner interviews Clive James for The New Republic:
I was the first person to take unserious television seriously. There were plenty of people who were writing profoundly about profound stuff. I was first to spot the importance of stuff that was unimportant: the stuff in between the shows, the link material, the sports commentators, the trivia. I started writing about that. It was illustrative, and you could be funny about it. You start describing a culture by taking that approach. That was my contribution.
Savage Satire — Samuel Carlisle considers whether American Psycho would be better without the violence, at The Believer:
Ellis… had trouble with American Psycho’s violence while writing it: the murder scenes remained unwritten until the rest of the book was completed, at which point Ellis read FBI criminology textbooks detailing actual serial killings and returned to insert the scenes that would be most unsettling to author, reader, and public alike. “I didn’t really want to write them,” he told an interviewer later, “but I knew they had to be there.”
What this leaves us with is violence that is mostly self-contained in a handful of brief chapters. To remove that violence would more or less be a clean excision, leaving the rest of the savagely insouciant satire intact.
And on a related note: The LA Times theatre critice Charles McNulty on depictions of violence on stage:
What is the line between acceptable and unacceptable violence in art? If gruesomeness is the criterion, much of Jacobean drama would have to be banned, including Shakespeare’s “King Lear,” with its graphic scene of Gloucester’s eyes being mercilessly plucked out. Some may believe they can identify pornography at a glance, but violence places keener demands on our sensibilities. Its artistic validity isn’t a function of how many liters of blood are spilled or how many limbs are dismembered. The question is one of gratuitousness. Or to put it another way: How does the brutality fit into a work’s larger vision?
And finally…
Ahab — New research suggests that Fredric Wertham misrepresented his research and falsified his results for his controversial book on the corrupting influence of comic books The Seduction of the Innocent, published in 1954:
Michael Chabon, who researched the early history of comics for his Pulitzer Prize-winning novel, “The Amazing Adventures of Kavalier & Clay,” said that while Wertham had been viewed as “this almost McCarthyite witch hunter,” he was actually “an extremely well-intentioned liberal, progressive man in many ways,” providing mental health services to minorities and the poor.
But of “Seduction of the Innocent,” Mr. Chabon said: “You read the book, it just smells wrong. It’s clear he got completely carried away with his obsession, in an almost Ahab-like way.”
(pictured above: The Phantom Lady drawn by Matt Baker was one the comics cited in Seduction of the Innocent. A reappraisal of Baker, one of the earliest African American comic book artists, has just been published by TwoMorrows Publishing.)
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