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. . . . . . . . . . . . . . . . . . . . . . . . . Awopbopaloobopalopbamboom. I can be emailed at caterina at caterina dot net
. . . . . . . . . . . . . . . . . . . . . . . . . Where I will be: Mar. 22-27, San Francisco
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{ Friday, March 30, 2001 }
Steve sends a link to this audio show of David Foster Wallace talking to Bryan Garner, the author of The Dictionary of Modern American Usage, which I've eagerly ordered. It's currently on back order on Amazon.com, so go through Powell's.
This is a test. Because Blogger doesn't seem to be publishing my posts.
True or not true? Did Sophocles write Oedipus at Colonus at the age of 90?
In the April 2001 Harper's there is an excellent article by David Foster Wallace on The Dictionary of Modern American Usage, which sounds pretty indispensible for amateur though non-fanatical SNOOTs like me, "SNOOT" defined thusly by Wallace: 'SNOOT (n) (highly colloquial) is this reviewer's nuclear family's nickname a clef for a really extreme usage fanatic, the sort of person whose idea of Sunday fun is to look for mistakes in Safire's column's prose itself. This reviewer's family is roughly 70 percent SNOOT, which term itself derives from an acronym, with the big historical family joke being that whether S.N.O.O.T. stood for "Sprachgefuhl Necessitates Our Ongoing Tendance" or "Syntax Nudniks of Our Time" depending on whether or not you were one.' (SNOOT note: Blogger brutalizes all ampersanded symbols on Macs, and so I can't put the little accent grave over the "a clef" and the umlaut over the "Sprachgefuhl" -- and below, in the title of the Kundera novel, "legerete" is positively porcupinatious with accents, but I had to take them out. Alas.)
Back in Vancouver. I wish I'd seen the Silophone, but didn't get to it. Things I bought: a waterproof sweater coated with Teflon. L'insupportable legerete de l'etre. Leather gloves that should have cost less than they did, considering that they had the shelf life of milk. Kiehl's Cucumber Essence. The other day I looked out my hotel window and there was a whole crowd of old people bundled up in their winter coats, their arms sticking out to their sides like dolls wandering down the street in a loose queue. They looked, from so high up, like dolls, but elderly and walking tentatively in the snow. They were being led by a few hovering (indulgent, henlike, watchful, parental) people, or maybe I was imagining that. A tour group, perhaps, or an outing from a senior center somewhere. I realized they were all coming from Notre Dame, the church across the square, and there was a tickle in my heart to think of the old people and god and them wanting to be looked after themselves, with so much adulthood behind them and presumably much caring-for, wanting to be shepherded and watched and cared-for.
The hotel's DSL isn't working, epic frustration! Nice hotel though. The bathtub is three feet deep, like sitting in a New Beetle. Weather today: lovely, but I am in a really bad mood, for no real reason -- not enough sleep? internet withdrawal? I finished reading Ubik, by PK Dick, and am now reading The Dark Light Years by Brian Aldiss, one of my favorites, from the 60s and 70s, now mostly out of print. Headed to the contemporary art museum this afternoon, like that. And a walk around Westmount.
I am out of sorts.
More later when we move to an overdesigned experience-economy hotel with high-speed internet access or something. I'm writing this from an internet cafe.
Guys and piles of change. "In the race of life," Matt Haughey said once, "the man with the least change in his pockets wins." I am sitting here looking at one of the largest collection of piled-up coinage I've ever seen in a guy's house. Neatly stacked little towers of dimes and little towers of nickels are forming a mini-Tokyo here on the window ledge. There are these things that sort your coins and give you bills at various Walgreens in San Francisco, but they claim 10% of the take. One of my favorite things to do when I was little was to count out and stuff the coins into those paper tubes -- red for pennies, blue for nickels, green for dimes. Quarters were orange, I think. Sometimes my father would let me deposit it in my own bank account, which I opened when I was 10, with $12.00 from my carefully hoarded allowance ($0.25/week) tooth fairy payments ($0.25/tooth) and saved dimes originally intended for lunch milk, which I never liked. I got my sister to pay for candy, which we weren't allowed to have at home, because she liked candy a lot more than I did, and besides saving up $2.49 for a Don McLean album (American Pie), I didn't spend much. I don't think you can open bank accounts with $12.00 anymore. I think that account got up to $350 before I blew it all on an Olympus OM-2 when I was 12. I still have it, and it still works beautifully.
Sitting here in front of me in the April 2000 issue of Harper's on the inside of the back cover, is a really bizarre fetishistic photograph of a beefcake foal in a Marlboro ad. I don't know if anyone has seen this thing, but it is one of the most peculiar photos I've ever seen used for selling tobacco. Everything besides the flesh-colored horse is out of focus, the horse is slanted to one side, its behind is facing the viewer, its tail is slightly raised. Come to Marlboro Country it says. Unnerving.
Yesterday we went hiking in the pouring rain a half of an hour outside of Victoria, B.C. in one of these northern rain forests where the looming trees are carpeted with green moss, Oscar-the-Grouchlike, and the skunk cabbage was blooming big yellow blossoms like enormous tulips. Walked through a long dark wet tunnel to a waterfall. Then came home and dried off and drank some nice white burgundy from Chassagne Montrachet, ate some superb quail that Stewart cooked, cooked for an hour with pancetta and sage, and drank the same wine that the Pope drinks, this lovely 1981 Amarone, I think, though David called it something else, a name that I can't remember. Yum. It is sunny today and the boats are gliding by on the harbor and a cloud that is hovering like a grey cottonball of evil intent over the bay looks as if it will be vanquished by the sun any minute now. Today we go and look for dobros and mandolins at some little shop in town, or maybe a National Steel, and take the ferry back to Vancouver. We fly tomorrow to Montréal.
Yesterday my cab was late. Pulled up 15 minutes late and this tall guy in a real OUTFIT stepped out, trendy glasses, hair up in one of those hats people wear over their dreadlocks, overalls and STYLE. We got in the cab, and he had a big yellow Sony tape player strapped to the dash, turned it on and started up Bach's Well-Tempered Clavier. We sat in silence listening to it for a while and the tinkly old harpsichord music seemed strangely incongruous, what with the guy clearly being such a cool cat and possible fashionista. So I asked him if he were studying Baroque Music and he, said well yeah, he was playing a lot of Bach lately. He turned out to be this classical pianist from Brooklyn who also plays with an outfit called Three Cops and a Hooker -- but he hates how everyone who plays jazz does drugs -- they're always smoking pot and whatnot, he said, and he can't abide that. We talked about how hard it is to stay an artist. How there were all these people we knew from art school and music school who somehow became sales representatives or managers at Wells Fargo or whatever, and couldn't understand how they got there, and so far from art. "They don't tell you how to STAY an artist in art school," my cab driver said. "That's what they need to teach you, more than anything. Its harder than you think it's gonna be."
The evolution of work: from a thought picked up in Austin somewhere: Are industrial era virtues such as arriving at a certain time at a certain place and fulfulling certain quotas or criteria now defunct? Is the idea really king? Occurring whenever it is that ideas occur? i.e. one no longer has to work 9-5 or in an office so long as one is able to have a good idea every week or so? Probably only applies to the cultural elite, this emphasis on working only in the best, cleverest or most creative way. Symbol Manipulators and Knowledge Workers -- are they now enjoying the kind of freedom and leisure that has been endlessly promised by every major and minor work revolution since WWII?
Notes written on tablecloths and napkins: Difference between Design and Art: constraints are the reason that design is a job; you are paid for your creativity operating within a limited possibility space. Cordy: Art is swimming in an ocean, design is swimming in a pool. Style as aspect of Design. We say that two things are "of a kind" when they differ from each other only by the more and the less: i.e. a difference of degree.
Tired. Three hour flight delay. Spent much of the day in Denver reading Dave Hickey, Air Guitar. I read the Hank Williams story four times, I liked it so much! Sarah Vowell likes him too.
Austin Rocks!
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