Hyper-Lit



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eliterature is the best current hypertext data-hub I've found. Enjoy!

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©2002 Tim Stark

Tuesday, March 13, 2007

Long time, no blog.
My bad.

This has been on my mind for quite a while, so it's good to finally get it on the record. I'm turning State's Evidence on something big here, and I may have to go into the Witness Protection Program like any Goodfella should ...

I'm fascinated by what I'm calling "Sopranos Syndrome." Gandolfini and his gangs of Guidos have combined to make some of the best writing (it's ugly, and it's evil, and it's cynical, but it's pretty serious about showing how spiritually empty that kind of "life" is ...) in television history come alive (by, often, falling gruesomely, heavily, trans-culturally dead) in vividly self-indulgent, nerve-numbingly neo-pagan, blood-red detail, and it seems that the only problem anyone at HBO has had with this wildly successful cash-cow of a show is a two-parter: it can't last forever, and it can't be on 24 hours a day. Poor little programming executives and their Entertainment Industrial Complex dilemmas, right?

No need to cry from them anytime soon. They found a way around their troubles. Around the clock Jersey Mafia intrigue was too much to manage, so how could they capitalize on the country's appetite for capo-talespinning? Hello, Sopranos Syndrome!

First, there was the second incarnation of the Sopranos: _Deadwood_. It's _The Sopranos_ done in wild west style.

Same profanity-dense dialogue, same gratuitously amoral sexual depravity, same creatively horrific exhibitions of callously nonchalant violence-- all the "good" stuff Sopranos fans expect, but it comes complete with its own iambically-pentametered, curiously stiff and formalized, King James Bible-saturated vocabulary and lots (LOTS) of mud in which to shift around within the world "devoted to destruction" by a scheming crime-lord from the comforts of his liquor and prostitute-funded sanctum sanctorum. Oh, yeah. There's plenty of heroin-rich laudenum guzzling and low rent opium den action, too.

Now, we're being treated to _The Sopranos_ version of _Batman Begins_, and it, evidently, takes HBO AND the BBC to put it all together. What is this show? It's not a "what." It's a where: _Rome_.

Forget the East Coast vs. West Coast rap wars. Talk about "old school"! This is _The Godfather_, B.C. These bone thugs are nothing but dry bones in the catacombs today, but, it seems, they livened things up with lots of death and dismemberment "back in the day," too. Evidently, Rome also afforded its youth "culture" plenty of opportunities for training in "classical" techniques of hash-pipe-puffing and more under-aged and unwed sexual activity in a given week than in any given half season of _Friday Night Lights_ and/or _The O.C._. Whoduhthunkit, huh?

The character, Vorenus, is being developed, clearly, to be understood as The Original O.G., the Capo de Capo Tutti Numero Uno-- Godfather Number One. Titus Pullo is an interesting amalgam of Sonny, Michael AND Duvall as Consigliere, all rolled into one. The saga continues in the alleyways and dens of iniquity while, just as in the days of _Deadwood_-era "robber barons" and contemporary abuses of governmental privilege, the "real criminals" are the untouchable rich, powerful and politically-connected. Same song, different verse.

Speaking of "all rolled into one," the climactic scene of the most recent _Rome_ episode looked "for good and all" like nothing less than a quick-- cut the chase and get right to the hacking and slashing-- variation on the theme of _Gangs of New York_ (or is it a reference to the news-team gangfight in _Anchorman: The Legend of Ron Burgundy_?!). No kidding! The cross-eyed crazy, mayhem-is-inevitable-and-honorable "rationale" which we thought might have originated with Butcher Bill is pre-figured here as the same kind of "wisdom" honored and followed as no less barbaric-and-yet-oddly-somehow-accepted-by-the-participants-as-essentially-civilized-and-sensible to the lauded citizens of Rome as it was to the early ethnically-pre-occupied denizens of old Manhattan.

What is the upshot? The more things stay crazy and self-excusing, the more they stay the same.

How many Sopranos does it take to keep HBO singing all the way to the bank? At least three for now. I have no doubt that a modern-day Moscow or futuristic Mafia on the Moon show or an ongoing series "based on" an _L.A. Confidential_/Mulholland Falls_/_Hollywoodland_ knock-off will be ready to drop right into the timeslot Tony and the Tortellini-guzzlers will be vacating after this last season.

Someone will offer HBO a marketable, makeable treatment, and it will be an offer they can't refuse.

Recapping the "Mobsters in Therapy" motif: for more fun with the Mob on Meds, see ...

  • _Mad Dog & Glory_ ('93) [Bill Murray thugs around with DeNiro playing against type]
  • _Gun Shy_ ('00) [under-rated, under-viewed, and under-appreciated]
  • _Analyze This_ ('99) [of course, even though it gets stretched a bit thin by the end]
  • _The Whole Nine Yards_ ('00) [if only for the Tony Bennett cameo]

Labels:

Wednesday, October 30, 2002

My W131 students asked for it, so I gave it to 'em:
A "brief" list of some of the best sources I know of for and about good writing.
It's not nearly thorough enough, but it's a start

W131, C105 (Fall C2K1) Recommended Reading & Viewing List

WRITING
* _If You Want To Write_
Brenda Euland
* _A Writer's Time_
Kenneth Atchity
* _Walking On Water_
Madeline L'Engle
* _Lives On The Boundary_
Mike Rose

IDEAS
* "Creative Whack Pack"
* _The Call of Stories_
Robert Coles
* _Mind Of The Maker_
Dorothy Sayers
* _Labyrinths_
Jorge Luis Borges
* _We've Had A Hundred Years
Of Psychotherapy And The
World's Getting Worse_
Ventura/Hillman
* _Screwtape Letters_
C.S. Lewis
* _Cruel Shoes_
Steve Martin
* _The Devil's Dictionary_
Ambrose Bierce
* _Poor Richard's Almanack_
Ben Franklin
* _Proverbs_ & _Ecclesiastes_
King Solomon

JOURNALING/AUTOBIO-MEMOIRS
* Reinhold Messner, _The Crystal Horizon_
* Gretel Ehrlich, _The Solace of Open Places_
* Sylvia Plath, _The Unabridged Journals_
* Dietrich Bonhoeffer, _Letters and Papers from Prison_
* Woody Guthrie, _Bound for Glory_ and/or _Pastures of Plenty_
* Flannery O'Connor, _Mystery and Manners_ and/or _The Habit of Being_
* George MacDonald, _Diary Of An Old Soul_
* Blaise Pascal, _Pensees_ or _A Mind on Fire_
* Akira Kurosawa, _Something Like an Autobiography_
* Ingmar Bergman, _The Magic Lantern_
* Farley Mowat, _Never Cry Wolf_ (the Disney movie is a masterpiece, too.)
* Garrison Keillor (take your pick of any of his books and/or cd collections)

STAGE/SCREEN
* David Mamet, _House of Games_, _Oleanna_, _Things Change_
(just about any and everything he's ever done)
* Spaulding Gray, _Monster in a Box_
* Eric Bogosian, _Talk Radio_
* Thornton Wilder, _Our Town_
* Horton Foote, _To Kill a Mockingbird_

DIRECTORS
* Akira Kurosawa, _Ran_
* Wim Wenders, _Wings of Desire_ & _Faraway, So Close_
* Ingmar Bergman, _The Seventh Seal_
* Barry Levinson, _Rain Man_ & _Avalon_
* Frank Capra, _Meet John Doe_ & _It's a Wonderful Life_
* Albert Brooks, _Lost in America_ & _Defending Your Life_
* Terry Gilliam, _Brazil_ & _Time Bandits_
* Coen Brothers, _O Brother, Where Art Thou?_ & _Fargo_

SONG/STRING
* Bruce Cockburn, "Dancing in the Dragon's Jaws" and "Charity of Night"
* Peter Himmelman, "Beneath the Damage and the Dust"
and "From Strength to Strength"
* Counting Crows, "August and Everything After"
* Over The Rhine, "Good Dog Bad Dog"
* Vigilantes Of Love, "Audible Sigh"
* Terry Scott Taylor, "A Briefing for the Ascent"
* Iona, "Beyond These Shores"
* The Waterboys, "Room to Roam"
* Jeff Johnson (Ark Records), "Through the Door"
* Rich Mullins, "Songs"
* Pink Floyd, "The Wall"
* Moody Blues, "Long Distance Voyager"

NO, I'M NOT KIDDING
* _Cerebus_ (Graphic Novel series)
Dave Sim & Gerhard
* _How To Be An Artist_
Eddie Campbell
* _Tales Of The Beanworld_
Larry Marder
* _Cages_ (Graphic Novel series)
Dave McKean
* _Maus_ (Holocaust history comics)
Art Spiegelman
* _Pogo_ (blisteringly beautiful wordplay & socio-political satire)
Walt Kelly
* _Red Storm Rising_ (ever wonder where they got the plan for Desert Storm?)
Tom Clancy
* _Franny & Zooey_ (I'm glad J.D. told me about _The Way of a Pilgrim_)
J.D. Salinger
* _The Stars My Destination_
Alfred Bester
* _Dandelion Wine_
Ray Bradbury
* _The Stranger_ and/or _The Plague_
Albert Camus

TV
* Sports Night
* Powerpuff Girls
* Samurai Jack
* SCTV
* Patrick McGoohan's The Prisoner
* Rod Serling's Twilight Zone

Thursday, March 21, 2002

About.com has a page which is another good info-nexus for hypertext and electronic literature. Check it out at About.com's Hyper-Lit page!

Friday, December 22, 2000

My friend and web-head, Justin Young, passed on these "usability links" to me:
http://usableweb.com/
http://www.useit.com/

They're two of the best sources of info on what makes for good and bad web-use.

Monday, December 18, 2000

Keith Barker is a good writer. He's humble and self-deprecating, but he's also a natural talent when it comes to character development and the technical elements involved in creating effective, compelling (and, by the way, hypertextual) stories. His final project for our L460 class is a mini-masterpiece, and I think he created a whole new form of literature. His character files are hyperlinked and inter-related in several ways, but he adds the ingenious and unique (in my experience) twist of providing us with a list of "favorite bookmarked web-sites" for each character. We get insight into the characters by means of this "private" information. What can we tell about a person by what they web-surf to regularly? Keith invites us to find out. Check out "The Dinner Party" at: http://www.geocities.com/keith_barker2000/dinner_party.htm

Great stuff.

Wednesday, December 13, 2000

Jeanette Winterson has some opinions about and aspirations toward hypertext/multi-media literature.

You can read of them here: http://www.jeanettewinterson.com/industry_standard.htm

I like her writing and her writing persona ... not that she cares what I think either way ... I'm just sayin' ...

Wednesday, December 06, 2000

The Usual Suspects is a kind of hypertext on film.

That's my thesis.

If you’ve never seen the movie and your Mom lets you watch R-rated films, then check it out and “read” it as a study in writing and linking and understanding hypertext.

Please note (partial plot spoiler alert!): the tale we’re told in this show is based on information taken from a … wait for it … BULLETIN BOARD!

Don’t sleep ‘til you’ve seen this thing!

My final project for L460 is posted. It still needs work, but this is a start. Check it out here:

... behind the secret panel lies a valuable, fabulous thing. --p94