|
|
Thursday, July 26th, 2007
Tonight's open mic at Here's to the Arts turned out really nice when Michael introduced me to William Hart Strecker. I played four songs with him, and starting at the second one I was really digging the music. The third song, Things Don't Always Turn Out Like You Planned, was really beautiful and I think the violin part I came up with added a lot to it. Nice feeling.
posted evening of July 26th, 2007: Respond
|  |
|
Heebie-Geebie has given me the idea: a mashup of Who's Afraid of Virginia Woolf with Married With Children. Specifically, the season Peggy was pregnant, as a prequel to WAoVW. I think it would be fantastic.
posted evening of July 26th, 2007: Respond
|  |
Wednesday, July 25th, 2007
The two most recent records on my car stereo were Key to the Highway and The Last Waltz; and the lyric that has been running through my head all morning is: Ashes to ashes, mama,
Dust to dust;
Show me a woman that a man can trust, like
Ophelia
Where have you gone?
posted afternoon of July 25th, 2007: Respond
|  |
Tuesday, July 24th, 2007
Just now I walked into my company's break room and saw that the receptionist had brought in a box of cookies, and found myself exclaiming, out loud, "Cookies! Hooray!"
posted morning of July 24th, 2007: Respond
|  |
Monday, July 23rd, 2007
...And as of chapter 22, I'm back to despising Ka for his narcissism, and myself for sympathizing with it. The lack of awareness he demonstrates for the violence around him (and/or his maintaining ironic distance from it) is really troubling, and is seeming to have real-world repercussions for people not as privileged as he is, for instance the people in the tea house after curfew when he stops in with his police escort, or the Georgian migrant workers whom they pursue. The violence seemed to me like a farce at first reading, only gradually sinking in how serious were the events being described, and I sort of think this was Ka's reaction as well -- he is so caught up in his constructed reality that he is experiencing the world around him as scripted. And maybe he is in shock? That is the only way I can explain his demeanor at the veterinary college in a way that allows me to remain sympathetic to him.
posted evening of July 23rd, 2007: Respond
➳ More posts about Snow
| |
Sunday, July 22nd, 2007
The events in chapter 17 of Snow have totally knocked me for a loop. The confident grasp of the book's plot and structure that I was feeling in 15 and 16 is out the window. I sort of had an idea what was going to happen based on the spoileriffic back cover blurb; that idea was completely wrong.
posted evening of July 22nd, 2007: Respond
➳ More posts about Orhan Pamuk
| |
Saturday, July 21st, 2007
I'm really intrigued by Ka's drunkenness -- I am dying to figure out what Pamuk means here. More to say about this but I haven't figured out what, yet.
posted evening of July 21st, 2007: Respond
➳ More posts about Readings
| |
|
A brand new site is online called Kidlit: Grownups writing about children's books. Looks very promising.
posted evening of July 21st, 2007: Respond
|  |
|
Chapter 15 is where this story is really beginning to come together for me. I had been liking a lot of disconnected stuff, and feeling fairly befuddled by the whole thing -- now all of a sudden I am grinning in agreement, underlining every other sentence, absolutely wincing when I see some bad news about a character I have come to love. The moment of transition might have been at the end of chapter 14, when İpek used Ka's phrase "the silence of snow" in a totally natural-seeming way. At this point I realize I am no longer condemning Ka for his narcissism (and myself for sympathizing with him) -- his narcissism seems like the most natural thing in the world to me. Another important cusp: "I think you're right," said Ka. "As it happens, I've already decided to answer the call that's been coming from deep within me my whole long life and open my heart to God."They caught his sarcastic tone -- for what it was worth. Knowing he was very drunk, they all suspected that this witticism might well have been prepared in advance. Up until now, I have been taking Ka's dialogue as generally pretty earnest. I think going forward, reading it with more irony assumed will make things easier to understand. -- Although that was not the case in reading Ka's conversation with Necip later in the chapter -- straight and ironic are both plausible interpretations, and both equally hard to decipher. I am really dreading Necip's fate.
posted evening of July 21st, 2007: Respond
| |
Friday, July 20th, 2007
I am getting more attached to seeing Ka as a narcissist. Chapter 11, "Ka with Sheikh Efendi", portrays a mental space I am closely familiar with, viz. talking happily and effusively with a group of people while simultaneously feeling secretly scornful of them and fearing that they are not taking me seriously. But the words of Ka's conversation with the Sheikh have an otherworldly, unbelievable quality to them. So I am adding together the realistic portrayal of Ka himself and the unreality of his relations with others, and coming up with narcissism. I am feeling a little disappointed that I don't get to see the surpassing beauty of the poetry Ka is transcribing during his ecstasies. But that is likely part of the point being made here.
Hm... Now I just read chapter 13, in which Kadife comes across with a distinct fullness of character. Maybe the thing that makes Ka retreat from interacting with others into the privacy of his head, is religion, and Kadife's explicit refusal to discuss her beliefs allows him to treat her as an equal. The places I have noticed a particularly stilted quality in the dialog have all been conversations between Ka and Islamists -- Efendi, Nicep, Blue, Muhtar. (His conversation with İpek was pretty surreal too, but in a different way, and that's pretty easy to explain as a product of his infatuation.)
posted morning of July 20th, 2007: Respond
| Previous posts
Archives  | |
|
Drop me a line! or, sign my Guestbook.
•
Check out Ellen's writing at Patch.com.
| |
