Tag Archives: readings/research

Rotten Reviews: Doris Grumbach on Mary McCarthy

“On television I see Mary McCarthy taking about her Vassar friend, the poet Elizabeth Bishop. I notice Mary’s instant icy smile, so often present when I interviewed her in Paris in 1966 for a book. George Grosz saw the same smile on Lenin’s face. ‘It doesn’t mean a smile,’ he said. I am fascinated by it. It represents, I think, an unsuccessful attempt to soften a harsh, bluntly stated judgement. Last summer, twenty-two years after the book I wrote about her, which she so disliked, appeared, I encountered Mary for the first time in an outdoor market in Blue Hill.

 ‘Hello Mary,’ I said. ‘Do you remember me?’

 Her smile flashed and then, like a worn-out bulb, disappeared instantly.

 ‘Unfortunately,’ she said.

 It didn’t mean a smile.”

 Doris Grumbach

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.   

Brewer’s Curious Titles: The Thin Man

“The Thin Man: A comedy-mystery film (1934), starring William Powell and Myrna Loy as the ever-bantering and happily tippling husband-and-wife team Nick and Nora Charles, who, with the aid of their wire-haired terrier Asta, investigate the disappearance of the tall, eccentric inventor Clyde Wynant (Edward Ellis), who is the ‘Thin Man’ of the title. The screenwriters Albert Hackett and Frances Goodrich based their sparkling script on the novel The Thin Man (1932) by Dashiell Hammett (1894-1961), who is said to have based the wisecracking and mutual teasing of Nick and Nora on his own relationship with the playwright Lillian Hellman (1905-84). There were several more Thin Man films, generally less successful than the first.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Rhetorical Figure

“Rhetorical Figure: An artful arrangement of words to achieve a particular emphasis and effect, as in apostrophe, chiasmus, and zeugma. A rhetorical figure does not alter the meanings of words as a metaphor may do. The repetitions in these lines from Gerard Manley Hopkins’s “St Winefred’s Well” are rhetorical in their emphasis and echoing:

‘T. What is it, Gwen, my girl? Why do you hove and haund me?

W. You came by Caerwys, sir?

V.                                 I came by Caerwys

W.                                                   There

Some messenger there might have met/met you from my uncle.

T. Your uncle met the messenger-/met me; and this is the message:

Lord Bueno comes to night./

W.                                                To night, sir!'”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.

Brewer’s Curious Titles: Tropic of Cancer

“Tropic of Cancer: A semi-autobiographical novel (1934) in experimental form by the US writer Henry Miller (1891-1980). Unashamedly exhibitionistic, the book reflects Miller’s bohemian life and sexual activities during the 1920s and 1930s. Tropic of Capricorn (1939) is a companion volume, recalling his childhood and earlier life in the United States. Both books were banned in the United States until the 1960s. Of Tropic of Cancer, the poet and critic Ezra Pound (1885-1972) commented: ‘At last an unprintable book which is readable.’ The Tropics of Cancer and Capricorn are two parallel lines either side of the Equator between which the sun can be directly overhead at noon. Miller commented that

‘Cancer is separated from Capricorn only by an imaginary line… You live like a rock in the midst of the ocean; you are fixed while everything about you is in turbulent motion.’

A film version (1970) was directed by Joseph Strick.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Review

“Review: A short notice of discussion or critical article in a paper, journal or periodical; (b) a journal or periodical containing articles on literature, art and philosophy. The Edinburgh Review is a famous example; so is the Quarterly Review. Publications like Horizon, Scrutiny, The London Magazine, Essays in Criticism, and Encounter might well be placed in this category.”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.

Dizzy Gillespie

Dizzy Gillespie: (originally John Birks) (1917-1993) U.S. jazz trumpeter, composer, arranger, and bandleaders, one of the primary innovators of bebop. Born in Cheraw, South Carolina, Gillespie was influenced by Roy Eldridge and played with the big bands of Cab Calloway, Earl Hines, and Billy Eckstine before leading small groups in the mid-1940s. He pioneered bebop with saxophonist Charlie Parker and pianist Thelonious Monk. Bringing this approach to his big band in the late 1940s, Gillespie popularized the use of Afro-Cuban rhythms in jazz. Alternating between large and small ensembles for the rest of his career, his virtuosity and comic wit (in addition to his puffed cheeks and trademark 45° upturned trumpet bell) made him one of the most charismatic and influential musicians in jazz.

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

The Weekly Text, 10 June 2022: Summer of Soul Lesson 2

The second Friday of June 2022 brings from Mark’s Text Terminal the second lesson plan of the Summer of Soul unit I wrote this spring to capitalize on the interest in this superlative documentary–especially when it won a much-deserved Oscar for Best Documentary Feature and accrued similar honors at just about every film festival held in North America in 2021. This lesson accompanies a viewing of the film: I composed these ten questions to guide viewing of the film in order to meet the unit’s learning objectives, which is an investigation into why the 50 hours of footage shot at the 1969 Harlem Cultural Festival never took a “seat at the table” when film production budgets were handed out.

That’s it. No do-now; students just jump right in to a viewing of the film. The third lesson will appear next Friday.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Cultural Literacy: Radioactive Waste

OK, last but not least this morning, and because I started watching the HBO series Chernobyl, here is a Cultural Literacy worksheet on radioactive waste. This is a full-page document with a five-sentence reading (two of them longish compounds) and six comprehension questions. Like the aforementioned television show, this worksheet is both compelling and cheerless.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Alexander Graham Bell

If you can use them, here are a reading on Alexander Graham Bell with its accompanying vocabulary-building and comprehension worksheet. There’s not much to day beyond that–other than for the right student, this may well be high-interest material.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Dexter Gordon

Dexter (Keith) Gordon: (1923-1990) U.S. tenor saxophonist, one of the most influential saxophonists in modern jazz. Born in Los Angeles, Gordon played in the big bands of Lionel Hampton and Billy Eckstine in the early 1940s, later working in small groups with Charlie Parker, Tadd Dameron, and fellow tenorist Wardell Gray. He was incarcerated on narcotics charges in the early 1950s, and moved to Denmark in 1962. A starring role in the film Round Midnight (1986) revived his career.

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.