THOMAS LARSON

(Contrary Magazine Fall 2011)

I Am Large. I Contain Multitudes.

The day after John F. Kennedy’s inauguration fifty years ago Robert Zimmerman, of Hibbing, Minnesota, who had rechristened himself Bob Dylan in honor of the Welsh poet, first arrived in New York City. He got off the bus, tramped over to Gerde’s Folk City, and started singing for his supper.  Since then, Dylan’s Methuselah career has presented us with more inscrutability than we can grok—a fact Todd Haynes celebrates and enumerates in his cinematic masterpiece, I’m Not There. It’s fruitless to attach any one mask to Dylan. At 70, he’s had the time, the luck, and the swagger to wear them all: songwriter, poet, painter, filmmaker, film star (0f sorts), singer, and author.

Dylan is a shape-shifter, a premodern postmodernist. He’s legendary and real, the tightrope-walker still plying 100 concert dates a year. His long life lacks a singular narrative. Like Miles Davis, his genius has been to forge a new identity, frame it with a new sound, then abandon it for—or be called by—another turn.

(The Rumpus July 11, 2011)

The Art of Cruelty: A Reckoning

Permit me, briefly, a naiveté. Had I thought about art and cruelty together, I would have said, yes, writers, painters, filmmakers depict a good deal of cruelty: Goya, Kafka, Tarantino, not to mention the emotionless airheads puppeteered by novelist Brett Easton Ellis or the one-night pain stands of performance artist Chris Burden, whose most memorable gig was having a friend shoot him in the arm on stage. But since such shock and shudder has such limited appeal (just because a lot of authors write transgressive fiction doesn’t mean they’re being read), I would not have guessed that any critic would insist such acts are artful. Really, there’s more to Less Than Zero than its minimalist deadpan? It seems that cruelty and art risk being too car-wreck enthralling, too Casey-Anthony obsessive.

(Contrary Magazine Summer 2011)

The Non-Expert Expert

No writer I know occupies as many rooms in the storied compound of arts criticism as Geoff Dyer. In Graywolf’s mix of Dyer’s two British-published anthologies (one in 1999; the other, 2010), the peripatetic author traverses photography, film, music, and literary criticism; he also plumbs the well of the personal essay.

Dyer, who’s written three well-reviewed novels, is a world traveler, autodidact, and essayist. He’s a master of the non-expert essay: self-examining pieces and books that use, among other things, photography, D.H. Lawrence, and the Battle of the Somme as his way in. He’s disciplined and ambitionless, an unrepentant time-waster, avoiding, he says proudly, all hard work. Dyer takes his time discovering—and taking apart—his interests, contrasting invention and analysis in each piece he writes.

(Contrary Magazine March 2011)

Motherhood, Disenthralled

This slim memoir is soaked in the partum-based worry many mothers-to-be endure. The birth year Giménez Smith covers overlaps with her mother’s prognosis of, and treatment for, a brain tumor. These threads, as well as some fictive turns and angry toddlers, are laced together, making for a strangely eloquent and fragmented meditation on motherhood’s woe. Few joys of pregnancy intrude—pickles and ice cream and padding around the house barefoot. A poet, editor, and teacher, Giménez Smith is too honest a writer to row that clichéd river.

For the author, a second child and the family’s ensuing chaos guarantee lost time—away from her students, husband, and writing. How will she survive? How did her mother do it? How will she bear her mother’s illness? And then how quickly she feels guilty and possessive, constantly making adjustments: “There are no amateurs in the world of children.”

(The Rumpus February 22, 2011)

Books & Articles Reviewed:

Proust and the Squid: The Story and Science of the Reading Brain Maryanne Wolf (Harper)

Reading in the Brain: The New Science of How We Read Stanislas Dehaene (Penguin)

The Shallows: What the Internet Is Doing to Our Brains Nicholas Carr (Norton)

“From Print to Pixel” Kevin Kelly Smithsonian July/August 2011

***

Will the ironies that plague the demise of print never end? Just as neuroscience arrives to explain how the brain evolved our reading and writing abilities, which leapt the furthest forward via Gutenberg’s press, the once-stable enterprise of discrete book and private reader is being recast by new digital text platforms, Web page, eBook, and iPhone. What’s more publishing on paper, linear thinking, literary hierarchies, metanarrative legitimacy, not to mention the humanist claims of literacy and democracy, all are being remade. Only five hundred years into movable type and the Enlightenment/Romantic/Modern culture it begat—and suddenly we are flummoxed by how short our dwelling in the kingdom of print will be.

(The Rumpus December 21, 2010)

How Badly We Need McLuhan: Now, More Than Ever

Recently, I chanced upon David Propson’s shoddy Wall Street Journal review of Douglas Coupland's new freewheeling critical/personal biography, Marshall McLuhan: You Know Nothing of My Work! Coupland and McLuhan, though of successive generations, are blood brothers—both Canadians and both writers and artists of New Media. But that's about all Propson gets right. With that oily snark so prevalent in today's hit-and-run reviewer, he declares that McLuhan has exerted much influence over “certain adolescent minds.” But McLuhan (who is inarguably the father of Media Studies) did not influence adolescents—he redirected the media builders, those who took him quite seriously, to package electronic technology for the young because they adapt the quickest to changes in our communication systems.

(Contrary Magazine December 2010)

Alchemical Grief

There is something physiologically aglow about this tapestry of fragments—a fabric of feeling that Roland Barthes began weaving for his mother the day after she died, October 25, 1977. Mourning Diary, keenly translated by Richard Howard, is a set of two-hundred-plus intensities, each a sentence or two at most, written by Barthes over a two-year period following his mother’s demise. The compilation is Barthes’ last writing, and it is unclear whether this was an intentional book.

Barthes lived with his mother, in Paris and in Urt, his childhood home in Southern France, all his life. She adored him, supported his difference, his genius. He adored her, bringing her a rose—and himself one—whenever he could. Since her death has ripped away such affecttion, he quickly diagnoses his condition: “I’m not mourning,” he writes, “I’m suffering.”