Ho, Ho, Hokusai — A Gleeful Plug

Just back from the Hokusai exhibit at the Museum of Fine Arts and it’s a smash.

Anyone in the Boston area with the least interest must go ASAP — the last week will be madness.

At first I was disappointed there was not more of his supernatural art (and his art that influenced manga in general), but it is drawn from the MFA collection and danged if his domestic scenes of life in Edo were not a helluva lot more evocative than I expected. And the waterfall studies are primo. Did I note that the lanterns with dragons and serpents are unbelievable? That the views of Fuji earn their rep not least because they have the feel of ordinary lives to match any Dutch master? Get down there before the hordes.

lion

Unbelievable as it may seem — the above, though pure silk, is apparently a very fancy piece of gift wrap.

R.I.P. Lynn Anderson

Gone at 67. Never one of my real favorites. Seemed too much like Lawrence of Welch’s idea of a country singer. Turned me on to Joe South, though. Also, had even cooler and huger piles of hair than Dolly Parton.

Fascinating note from her obit: her mother Liz wrote the masterpiece “I’m a Lonesome Fugitive” (about the best opening couplet in country, according to me).

Sad note from her obit: apparently she had quite a bit of trouble with the bottle in later years.

Anderson

See — get the whole title in the hair.

Anderson 2

Fascinating E.L. Doctorow Tidbit

Victor Navasky’s tribute to his late writer friend is worth reading as a whole. But there was one part that I found amazing — I didn’t know about it before, and I guess you have to be of a particular age for it to resonate, but it’s a tantalizing nugget of information. It’s even right near the top of the essay:

I first met Edgar in the late 1960s, when he was editor in chief of Dial Press, where his authors included James Baldwin and Norman Mailer. At the time, I was editing and publishing Monocle, a small journal of political satire.

We had an idea for a book that became Report From Iron Mountain: On the Possibility and Desirability of Peace. Its premise was that the US government had commissioned a special study group to plan the transition from a war economy to a peace economy—but the group, which met in secret, found that without war or the threat of it, the economy would collapse, so it quashed the report. The book was written by Leonard Lewin, with input from economist John Kenneth Galbraith, Monocle editors Marvin Kitman and Richard Lingeman (later executive editor of The Nation), and yours truly.

Although all of its footnotes were to real sources, the report itself was, of course, a hoax. But we wanted a publisher who would list it as nonfiction and not let the sales force know otherwise. In Edgar Doctorow, along with Dial Press publisher Richard Baron, we found the perfect coconspirators. When a reporter from The New York Times called to ask whether it was a real, government-commissioned study, Doctorow advised him: If you don’t believe it, check out the footnotes. And when the reporter called the Johnson White House, the officials—not knowing whether or not the Kennedy administration had commissioned it—simply responded, “No comment.”

The Times ran a front-page story saying this was possibly a hoax and possibly a secret government document, and the book ended up on the Times bestseller list!

Little did we know that this episode, exploiting the complicated line between fact and fiction, was to prefigure Doctorow’s remarkable career as he went on to write, among other works raising critical historical, political, and cultural questions, The Book of Daniel (inspired by the case of Julius and Ethel Rosenberg), Ragtime, Billy Bathgate, and The March.

Report From Iron Mountain (I still have my copy, right next to On Thermonuclear War, another freaky vintage document) did not come out of nowhere. It was an era of pointed hoaxes — like Naked Came the StrangerMostly quaint and dated escapades by today’s perspective.

But Report From Iron Mountain — deliberately dry and not-much-fun to read, which made it seem more authentic, maybe, but guaranteed its rather quick obscurity — laid out an enduring, convincing argument that the Establishment, not mere radical protesters, could argue that nonstop war had become an American way of life. And that it was a good thing, for the military-industrial economy we had become. And it’s fascinating to think Iron Mountain was a warm-up, if not an outright inspiration, for Doctorow’s fact-based fictions.

Big-Game Hunting: Up There with Blubber Refining and Real Fur Coats

I suppose there will always be a taxidermy operation around Livingston. I was quite fascinated by the serious outfit that did a booming business when I was a kid. Until that yowling damned monkey they let run loose around the place dove onto me and bit the shit out of my arm. To this day think they had a first-rate fossil display for a small town and I still have a beautiful polished agate from them. We even had a stuffed pair of coyote cubs on the bookshelf in our living room. (Their mother had been shot for killing lambs and the sheep herder said that he smothered them out of mercy. Don’t know how much of that to believe except I’m sure the first part was true. A wise guy pointed out there was what looked and felt like a bullet hole behind the shoulder of one cub. Anyway, I didn’t want to have anything to do with them after I was in high school. May have ended up in a dumpster behind a second-hand store for all I know.)

Indeed I found the serious trophy hunters we knew (about four guys) a bit on the creepy side. My favorite told exciting stories. My least-favorite seemed to regard his trophies as mounted dick substitutes.

Anyway, going after deer or elk with a bow and arrow is plenty alright in my book these days. Much beyond that, though, man …

Especially big cats. I can never forget the black leopard I saw in the San Diego zoo. He did nothing but prowl furiously back and forth right at the front of his glass enclosure. The look in his flaming-yellow eyes made plain he would kill every one of us he could get his claws on.

After the End of Words

Subject: Novick here
Dear Milo,
I’m the original producer of the tv show Glee and I have a music venture coming to Boston next week that I think will peak you interest.  Let me know if you have some time to talk about it.

Thanks.

Michael

Dear Novick Here —

If it is like “Glee” at all I have no interest. Why don’t you just tell me what the “music venture” is? Also, the proper word is “pique” — French thing, you know?

yours in clarity and literacy,

Milo Miles

Geoffrey Stokes

Opening up boxes of old books can pull at your heart.

Inside one this afternoon was my original 1976 copy of Starmaking Machinery by Geoffrey Stokes. Then rapid-fire memories.

In 1974 it was an outrage that a low-life rock and roll performer like Bruce Springsteen had been on the covers of Time and Newsweek simultaneously. This racket was going to hit the skids any minute — where was their freakin’ judgement? As a geezer, I can now see this was an early lesson in what “everybody knows to be true” can have nothing to do with reality.

Remember kidz, there were very few books about rock and roll back then — mostly fanzine-gushy picture volumes.

By 1976, Starmaking Machinery (yes, a brilliant lift from the Joni Mitchell lyric) proved for all time that rock and roll — popular music in general, really — had become a bigger, more serious business than ever before. It was key that the subject was not a landmark by some international super-performers, but a so-so record by a strong outfit, Commander Cody and the Lost Planet Airmen doing what we would now call a reboot of their career. You can read it as an announcement of the triumph of pop even as you understand it as a guide to what punk and indie players wanted to escape. You’re kinda shocked when you see what a dinky outfit Sun Studios was — but in 1976 it could seem like a fairyland castle.

What got to me most, however, was that I had forgotten how much I appreciated Geoffrey Stokes affection for the music and the players and his ability to convey that in the middle of full entertainment-business reporting. As much as anything I had read until then, Starmaking Machinery made me think writing about popular culture was a damn exciting aspiration. Worthy of intelligence and graceful prose.

(Did I mention that his food writing in the Village Voice — under the lovely pseude “Vladimir Estragon” — remains among the three or four most-fun examples of the form I know?)

Finally, I remembered how sad I was when I found out he had died so young. His words made the world such a better place — how could he be gone? That was almost 20 years ago, and now I’m eight years older than he was.

So much has passed …

But for a minute next to that box in the basement, it was the Bicentennial once more.

The Not-So-Secret Messages of Mannequins

It matters what they say to customers.

One of the most incisive changes my mother made when she was managing a womens’ clothing store was to update the ’30s-vintage mannequins in the show windows. The message before was that it was a place that sold frumpy, out-of-date clothes — that’s what even the most mod stuff looked like on the old “dummies.”

Mannequins always reflect what capitalism thinks of customers. I like the honesty of the ones that have no heads.