15 December 2014

Quickie Review: SYLLABUS: NOTES FROM AN ACCIDENTAL PROFESSOR

Syllabus: Notes from an Accidental ProfessorSyllabus: Notes from an Accidental Professor by Lynda Barry
My rating: 5 of 5 stars

I first sought out Barry's comics years ago because Filipina! Okay, part-Filipina but enough to hook me with a panel of an elderly woman, sitting on a couch with one elbow resting on her raised knee, declaring "Ay, nako!" But Syllabus was my first encounter with one of Barry's artistic how-to books. It's a compilation of syllabi, courses, and exercises she's used in the various classes she teaches at the University of Wisconsin-Madison.

Other artistic how-to books emphasize the importance of play, but this is the first one I've read that has shown me exactly how to leverage that idea. Barry's thesis is that when we were drawing or writing as children, the last thing on our minds was whether or not we were creating works of art; at least in my case, she's right. And thus, I get something extremely valuable from this book: a method for RE-training myself to suspend any judgement at all about writing as I'm writing. (That stuff is for editing and polishing later.)

Syllabus gets 5 stars because after a mere two weeks, the exercises within--more or less in practice; definitely in principle--have already yielded dividends as far as filling some of the gaps in my writing practice that I've been struggling with since the day I started. I can feel the techniques reshaping my artistic process the way I used to feel muscles being shaped while working out (another experience I haven't had in awhile), and it feels great!

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05 December 2014

Reason No. 666 Not to Scoff at Hall and Oates

...Daryl Hall, of Hall and Oates, worked with Robert Fripp of King Crimson to do his own Aleister Crowley-inspired album in the 1970s.
-Peter Bebergal, Season of the Witch: How the Occult Saved Rock and Roll


via io9.

See also: You'll Pay the Devil, All Right

14 October 2014

Quickie Review: ILO ILO (2013)

A screening of this Canne Caméra d'Or-winning film was hosted by the dayjob and I went, having prepared myself to go all Hooper from Chasing Amy during the Skype Q&A with Singaporean director Anthony Chen. But this film about a Hong Kong family who takes on a Filipina maid during the Asian financial meltdown of 1997 thankfully wasn't rage inducing.

During the Q&A, the director mentioned having been taken to task for not providing any critique of the OFW (Overseas Filipino Worker) system. I was just happy that we didn't get either of the two "typical" OFW horror stories--Filipinas being physically or sexually victimized, or victimizing the families they work for, stealing money, abusing children and elders, etc. Hell, I half-expected Teresa (the maid) to have some anting-anting which makes her some Asian Mary Poppins who teaches young Jiale about, I dunno, love and family or somesuch. 

(She probably would have if this was some Hollywood film.)

Anyway, I'm fine that the film wasn't about the plight of OFWs for two reasons. One, I think Chen gives a pretty even-handed representation of the part most people play in that whole system, in a way which jives with the memories I've had as a child observing Filipinas who were brought over to the United States to help with the families of other Filipinos. And two, that kind of message would've taken away from the film's focus on the compelling study of how four very different people cope against forces outside their control.

5 out of 5.