The New York Review of Books published a long, wide-ranging interview of Wole Soyinka, Nigerian Nobel Laureate in Literature, by Henry Louis Gates. The conversation touches on Trump and why Soyinka cut up his green card, the African diaspora, desegregating motel swimming pools, Obama and burdening a leader with a Peace Prize, federalism in Nigeria, classism in South Africa, women’s rights and fundamentalism, and Bob Dylan’s Nobel Prize. I can only recommend reading it in full:
If Beale Street Could Talk, the Barry Jenkins movie based on the James Baldwin novel of the same name, is a fantastic, beautiful, political, loving movie. Trish Rivers and Fonny Hunt are a young Black couple in love and expecting a baby when Fonny is arrested for a rape he didn’t commit.
Barry Jenkins and James Baldwin have one thing in common. An image/prose language that is both realistic and, at the same time, incredibly poetic. Compared to Moonlight, the outstanding 2017 Academy Award winner, Beale Street is comparatively conventional in parts, but similarly terrific. The beauty of the love between Trish and Fonny, the support of Trish’s family is in contrast to the ugliness of the racist system.
The acting of the entire cast is exceptional, Regina King as Sharon Rivers deserves winning all the awards this season, including the Oscar for best actress in a suporting role. The two young lead roles, Kiki Layne as Tish and Stephan James as Fonny are great, particularly their close ups were tremendously heavy or heavenly light, depending on the scene. The breathtaking dialogues at the window in prison reminded me of the intensity of the prison dialogues in Steven McQueen’s Hunger.
We have to say it in a way that will delight the ear or the tongue or the mind of a reader who will never know us. It’s the only way in. And to do that, we have to be capable of imagining that reader, imagining them wholly, gassy and distracted by their phone and worried about the news and late to pick up their son from ballet.
Kaveh Akbar in conversation with Danez Smith for Granta. Both poets are shortlisted for the Forward Prizes for Poetry 2018.
For the Paris Review, Rebecca Renner compares Truman Capote’s novella and the Breakfast at Tiffany’s movie script, particularly concerning Holly Golightly’s sexuality:
“In other words, Holly’s sexuality doesn’t matter quite as much as how the world perceives and polices it. For Holly, sexuality is part of the persona she has woven around herself. She is a Gatsby for a new era, one where women can only be themselves when they run away from men and society’s expectations.”
A recent NPR/PBS NewsHour/Marist poll and the connected article results in what they call a “warning for Democrats: Americans are largely against the country becoming more politically correct.” The question in the poll, like the framing of the article, is.. odd.The full question is:
Asma Khalid called this a good definition of politcal correctness in the most recent episode of the NPR Politics podcast. I don’t think so. The question is neitehr a fitting definition of politcal correctness nor a neutral one, but rather a definition that at the very least leans towards the use of the term “political correctness” as a right-wing fighting word. It connects “politcal correctness” to censorship.
Not using certain words and supporting certain concepts isn’t about censorship, it’s about not continuing to hurt people.
“In trying to see and hear what professional critics never see and hear, I felt as though I was attending one endless block party. In New York City, Benjamin’s mechanical reproduction has clearly become Baudrillard’s cybernetic apocalyptic ecstasy of communication, in which everything is repeated to the point of meaninglessness. Or is it rather that the massive proliferation of entertainment as compensation, as escape, as the conspicuous consumption of the flattening of history and political consequence, is what urban existence is all about?”