I’m headed back to New York City after a staycation of almost two weeks. Even shifting standard arising time back only an hour from 4:00 a.m. seems cruel and unusual punishment this morning. New York is a very different place to go for work than it is for play. Serious New Yorkers, of which I am not one, tend to avoid the fun places visitors go. Times Square is simply a venue from which the hike to work begins. Most of the buildings are gray and dedicated to the making of money. My thoughts go back to my one transgressive trip in over the holidays to see a show. How different New York was then! Ethereal lights, sublime music, and the magic of story. Today it will be unsmiling crowds surly to make cash flow again. The concrete underfoot today will be much harder.
When I come in with family I feel less cold. New York can be very lonely for such a crowded place. Indeed, it isn’t unusual for me to go for days with no one at the office saying a single word to me. That’s the kind of place Manhattan is. Too many humans to be humane. Unless you’re here to play. Such play is, however, costly. Magic never comes for free. The holiday lights will still be up here and there. Warm memories of the past few days will linger for a little while. Soon the steel and cement will be the only realities once again. Soft skills meet the cold razor of cash with predictable results.
It seems to me that I’m yearning for boyhood once again. Those first tentative years of learning about life are all misleading. Suddenly it dawns on you that good will is reserved for the holidays and the remainder of the year is dedicated to money and things others deem as important. The bus is approaching, but the last time I was in the city was for fun. Today I won’t even glance at the theater district as I dodge cars to get out of Times Square as quickly as possible. There will be the all-too-familiar lines at the Port Authority during rush hour this afternoon. I’ll leave work wondering how a city can possibly be so schizophrenic. Yes, I’ve been profoundly happy in New York City. I’ve also been ground down to the very nub by the exact same place. Such is the nature of a world where money reigns.
At the end of each year I think back over the books I’ve read in the past twelve months. Since I don’t blog about every single book, I use Goodreads to keep track of my numbers. I pushed my reading challenge at that site to 105 books for last year, and the meter stopped at 111. In 2018 I’m planning on reading some bigger books, so I’ll scale the numbers back a bit, I think. In any case, what were the most memorable books of 2017? It’s perhaps best to divide these up into categories since the number of books has become unwieldy. I’ve written a book about horror movies, and much of this year’s reading has been in support of that. Since my book addresses, among other things, possession movies, I’ve read several tomes on the topic. Noteworthy among them have been the three books by Felicitas D. Goodman that I read over the year. J. H. Chajes’ Between Worlds was exceptional, and Jeffrey Burton Russell’s The Devil, was likely the overall best on the topic. Also noteworthy for purposes of my book research were Catherine Spooner’s Post-Millennial Gothic and Monstrous Progeny by Lester Friedman and Allison Kavey.
For books on religion, Stephen Prothero’s Religious Literacy was an important start. Amy Johnson Frykholm’s Rapture Culture and James William Jones’ Can Science Explain Religion? addressed aspects of the topic that will continue to bear further exploration. God’s Strange Work by David L. Rowe and American Apocalypse by Matthew Avery Sutton stand out in my mind as a memorable treatments of William Miller, and of understanding American religion respectively. Chris Hedges’ American Fascists is remarkably urgent and should be read widely, especially since he has shown where current political posturing will lead if it’s not stopped cold. We will be struggling against a situation like Nazi Germany for many decades to come, and forewarned is forearmed.
It wasn’t all doom and gloom, however. Much of the fiction I read was excellent. Bill Broun’s Night of the Animals, Auður Ava Ólafsdóttir’s Butterflies in November, Robert Repino’s D’Arc, Matt Ruff’s Lovecraft Country, Christobel Kent’s The Crooked House, and Leah Bobet’s An Inheritance of Ashes all stayed with me long after I read them. And of course, Neil Gaiman’s The Ocean at the End of the Lane. Some non-fiction read just as engagingly. The autobiographies by Carly Simon and Bruce Springsteen were deeply engrossing. The Hidden Life of Trees by Peter Wohlleneben and John Moe’s Dear Luke, We Need to Talk were great guilty pleasure reads along with Dani Shapiro’s Still Writing, W. Scott Poole’s At the Mountains of Madness, and Mathias Clasen’s Why Horror Seduces. The latter title brings us full circle. I suspect that’s appropriate for rounding out a year. Many of the other books were also quite good; I tend to rate books favorably. Read the revolution—make 2018 a memorable year with books!
Posted in Books, Holidays, Literature, Memoirs, Posts
Tagged Amy Johnson Frykholm, Auður Ava Ólafsdóttir, Bill Broun, Bruce Springsteen, Carly Simon, Catherine Spooner, Chris Hedges, Christobel Kent, Dani Shapiro, David L. Rowe, Felicitas D. Goodman, Goodreads, J. H. Chajes, James William Jones, Jeffrey Burton Russell, John Moe, Leah Bobet, Lester Friedman and Allison Kavey, Mathias Clasen, Matt Ruff, Matthew Avery Sutton, Neil Gaiman, Peter Wohlleneben, Robert Repino, Stephen Prothero, W. Scott Poole
One of the rare and long-anticipated treats of being near New York City is the prospect of a live show. For practical reasons we don’t go to shows very often—years separate the occurrences—but once in a great while we manage to afford such a boon. Yesterday we attended the penultimate performance of the Cats revival on Broadway. The experience was transcendent. I’ve seen the movie version a number of times, and over the years I’ve caught a few live performances here and there. For whatever reason, this musical speaks to me. Although it doesn’t really have much of a plot—it’s more a series of vignettes—it is about redemption and being comfortable in one’s own skin. T. S. Eliot was a poet who knew spirituality intimately. Andrew Lloyd Webber, no one needs me to say, writes stirring music.
Cats, unlike many shows I’ve seen, requires athleticism as well as vocal ability. The performers are in nearly constant motion as they play out their roles, often with acrobatic flourishes. Most of the parts are for the young, while those dwelling on the experience of older characters—Gus, Grizabella, and Old Deuteronomy—tend to be recollections of youth as a commodity that slips away leaving as residue the wisdom that comes with age. It’s quite biblical in that respect. Even the old can appreciate back flips and double cartwheels and the grace of ballet. For this particular production the lighting stood out as an integral part of the story. Illumination, I might add, is a powerful metaphor.
In our family discussions afterwards, comparison with other versions dominated. Although my wife and I saw a community theater production long ago (placing us, I reluctantly suppose, in the ranks of the older characters), our main introduction was through the filmed adaptation. Again, like the Bible, we tend to think of canonical versions. This is how it should go. Because of both its running time and its demands on the players, not all vignettes are included in each production. The character who narrates the story may change. Choreography is adjusted. Each show, as is the case with live theater, is a little different. Standing in the snow on a cold, New York City December afternoon awaiting the opening of the doors, we wondered what would be changed. The original Broadway run had ended while we lived in the Midwest, so this was both our first exposure but also our fourth rendition over the decades. None, it turns out, could be called canonical. That, however, took nothing away from the inspiration of the event unfolding before our very eyes.
Posted in Art, Bible, Cats, Holidays, Literature, Memoirs, Popular Culture, Posts
Tagged Andrew Lloyd Webber, Broadway, canonicity, Cats, New York City, redemption, T. S. Eliot