Here is the second selfie in my 365 Selfie Project.
Tom Fasano Articles.
Sandy’s best friend in the world, Ann, paid us a visit today. It’s been several years, and we enjoyed catching up with our lives.
My first reaction to this was, What? But the song kinda grew on me. The comments on Gina Birch’s song “I Play My Bass Loud” are generally brief and positive, reflecting an engaging and experimental listener experience. A notable trend among the comments is the discussion of listening to the track at increased speeds, with several commenters expressing a preference for playback at 1.5x or 1.75x speed. This suggests that fans appreciate the song’s versatility and enjoy experiencing it in different ways. The most liked comment highlights the track’s appeal at a faster speed, underscoring the enthusiasm for its energetic and dynamic composition. Overall, the comments reveal a strong connection with the music and an appreciation for its unique sound.
Don DeLillo’s “Underworld” is a sprawling, ambitious novel that captures the American consciousness in the second half of the 20th century, melding historical fact with fictional lives to explore the complexities of existence in the modern age. Published in 1997, this novel stands as one of DeLillo’s most profound works, painting a vivid panorama of American life and its discontents, tracing themes of waste, memory, and technology across a fragmented narrative structure that spans decades.
“Underworld” opens with one of the most striking prologues in contemporary American fiction—a detailed, moment-by-moment account of the famous 1951 National League tiebreaker baseball game where Bobby Thomson hit the “shot heard ’round the world.” This game serves as a symbolic entry point into a narrative that weaves together the lives of its characters through connections that are at once intimate and global. The baseball, hit into the stands and then lost to history, links the various characters, each touched by its trajectory in different ways.
The protagonist, Nick Shay, a waste management executive, acquires this baseball decades later, and it becomes a relic of the past that holds different meanings for different people. For Shay, it represents a connection to his childhood, his estranged brother, and the broader cultural and historical forces that shaped his life. DeLillo writes, “He wanted to own the curious weight of this, to possess the density of lived things, a piece of the dense and rushing world.” This line not only captures Shay’s desire for connection but also encapsulates one of the novel’s central themes: the human need to find meaning and solidity in a rapidly changing world.
“Underworld” is a testament to DeLillo’s ability to juxtapose personal narratives against larger historical and cultural backdrops. The novel spans the Cold War, from the 1950s to the end of the 20th century, using events like the atomic bomb testing and the fall of the Soviet Union to frame the personal stories of its characters. Through these juxtapositions, DeLillo examines the paradoxes of modern life—the ways in which people are simultaneously isolated and interconnected, empowered and impotent.
DeLillo’s prose is dense and lyrical, filled with passages that reflect his deep engagement with the themes of time and memory. “Time is the only narrative that matters,” one character muses, a statement that reflects the novel’s preoccupation with the ways in which the past continuously shapes the present. The narrative itself is non-linear, moving back and forth in time, mirroring the way memories surface and recede, and how history is both a burden and a context for contemporary life.
The title “Underworld” refers not only to the hidden aspects of society—the crime, the waste, the forgotten and the discarded—but also to the psychological and moral underpinnings of modern existence. Waste is a recurring motif throughout the novel; it symbolizes the byproducts of human consumption, both material and spiritual. DeLillo explores how society deals with its waste, and how those processes mirror the ways in which individuals handle their own personal and historical detritus.
DeLillo also delves into the theme of art and its power to challenge and reinterpret reality. One of the most compelling characters, Klara Sax, an artist who works on a massive installation involving decommissioned B-52 bombers, uses art to transform instruments of war into symbols of beauty and contemplation. Through Sax’s storyline, DeLillo suggests that art offers a way to reclaim and reinterpret the materials of history, providing a means of resistance and redefinition.
Technology and media are also critical in “Underworld.” DeLillo is particularly concerned with how they shape public consciousness and individual identity. The omnipresence of television, the burgeoning influence of computers, and the pervasive reach of media all contribute to a sense of reality that is mediated and, at times, manipulative. The novel questions the authenticity of a world where historical moments are experienced secondhand, through screens and representations rather than direct engagement.
Despite its broad scope, “Underworld” maintains a deeply intimate tone, drawing readers into the interior lives of its characters. DeLillo’s attention to detail, his nuanced portrayal of relationships and personal crises, and his ability to connect these individual stories to larger social and historical patterns make the novel a rich tapestry of American life.
In conclusion, “Underworld” is not merely a narrative about America’s geopolitical struggles or its cultural transformations. It is a profound inquiry into the nature of being, the construction of memory, and the search for meaning in a disordered world. DeLillo’s novel is a monumental achievement, challenging in its structure and ambitious in its thematic reach. It demands much from its readers but offers rich rewards in return—a narrative that resonates with the weight of history and the lightness of human connection, weaving a complex, compelling view of the world that is as haunting as it is beautiful.
Paul Auster, a celebrated American author known for his love of typewriters, has died at 77. He gained fame for his “New York Trilogy” and was a notable figure in postmodernist fiction.
Born in Newark, New Jersey, in 1947, Auster’s writing career began at the age of eight when he missed out on getting an autograph from his baseball hero, Willie Mays — who was outside the players’ locker room after a game — to not having a pencil. From then on, he always carried a pencil with him, and his writing journey began. After graduating from Columbia University in 1970, he moved to Paris, where he began translating French literature and publishing his own work in American journals.
Auster’s big break came in the mid-1980s with the publication of “”City of Glass,” the first novel in his “New York Trilogy.” This trilogy cemented his reputation as a master of postmodernism, as he blended detective fiction with existential questions about identity, space, language, and literature. The trilogy brought him worldwide acclaim and established him as one of the signature New York writers of his generation.
A major theme in Auster’s work was the role of chance and coincidence. This fascination can be traced back to a life-changing event he witnessed at the age of 14 while hiking during a summer camp. He saw a boy standing just inches away get struck by lightning and die instantly. This experience profoundly impacted Auster, and it became a recurring motif in his fiction.
While Auster was born in New Jersey, he became synonymous with Brooklyn, where he settled in 1980. He was seen as a guardian of the borough’s rich literary past and an inspiration to a new generation of novelists who flocked there. His works often used New York as a backdrop, with Brooklyn featuring prominently and his characters grappling with life’s randomness and chance occurrences.
Auster’s body of work includes over 30 books, ranging from novels to memoirs, poetry, and screenplays. His notable works include “Moon Palace,” “The Music of Chance,” “The Book of Illusions,” “Leviathan,” “4 3 2 1,” and, of course, the “New York Trilogy.” His writing imposed a sense of irreality, inviting readers into a world where the lines between reality and fiction blurred.
Paul Auster’s passing is a reminder of the profound impact writers can have on our lives. His words will continue to resonate with readers for generations to come, and his influence on contemporary literature will forever be felt. As he once said, “If there’s a pencil in your pocket, there’s a good chance that one day you’ll feel tempted to start using it.”
In an interview, Blake Andrews engages in a conversation with photographer Mike Brodie, offering insight into Brodie’s unique journey and his approach to photography. The analysis of this interview reveals several key themes and provides context for Brodie’s body of work.
Transience and Youthful Exploration: One of the central themes in Brodie’s photography is his fascination with transience and youthful exploration. His subjects are often young people on the move, embracing a nomadic lifestyle and seeking adventure. Brodie himself embarked on a similar journey, hopping trains and documenting his experiences, which lends an air of authenticity to his work. This theme of transience reflects a sense of freedom, rebellion, and the search for self-discovery often associated with youth.
Raw and Intimate Documentary Style: Brodie’s photographic style is characterized by its raw, unfiltered nature. He embraces a documentary approach, capturing spontaneous moments and genuine emotions. His images are often devoid of formal composition, instead focusing on the candid and the immediate. This raw aesthetic invites viewers into the intimate world of his subjects, offering a glimpse into their lives that feels authentic and unstaged.
Use of Natural Light and Color: Brodie’s work is also notable for its use of natural light and color. He relies on available light, often shooting in harsh sunlight or in the soft light of dawn and dusk. This lighting adds a layer of realism to his images, enhancing the sense of place and the passage of time. The colors in his photographs, often vibrant and saturated, contribute to the overall sense of vitality and youthfulness in his body of work.
Capturing Moments of Transition: There is a strong sense of narrative and storytelling in Brodie’s photography. Many of his images capture moments of transition, whether it’s a person pausing between destinations or the shift from daylight to dusk. These in-between moments offer a sense of anticipation and potential, reflecting the larger theme of youthful exploration and the unknown future that lies ahead.
Social Commentary and Empathy: Brodie’s work also functions as a form of social commentary. His images provide a glimpse into a subculture that is often overlooked or misunderstood. By documenting the lives of these nomadic youth, he brings attention to their experiences, struggles, and unique way of life. There is an underlying sense of empathy in his work, a desire to understand and connect with his subjects, which adds depth to his photographic narrative.
In conclusion, this analysis highlights the key themes and stylistic choices that define Mike Brodie’s photography. His work is a testament to the power of documentary photography to capture intimate moments, tell stories, and offer a unique perspective on the world. Brodie’s images invite viewers to consider the beauty and complexity of transience, youth, and personal exploration, leaving a lasting impression of a fleeting way of life.
I took a typing class at my high school in 1975, which looked a lot like this — big Royal manual machines. Loved it!
Ai Weiwei is a Chinese contemporary artist, documentarian, and activist. Known for his provocative art and outspoken criticism of the Chinese government, Ai has become one of the most influential and controversial figures in the art world today. Through his sculptures, photographs, and public works, Ai Weiwei fearlessly tackles political and social issues, often at great personal risk. This blog post will explore Ai Weiwei’s life, art, and activism, highlighting the impact he has had on the world of art and beyond.
Ai Weiwei was born on August 28, 1957, in Beijing, China. His father, Ai Qing, was one of China’s most renowned poets. Soon after Weiwei’s birth, communist officials accused Ai Qing of being a rightist, leading to the family’s exile to remote regions of China. They lived under harsh conditions first in Heilongjiang province and then in Xinjiang, where they remained for 16 years until the end of the Cultural Revolution in 1976.
As a young man, Ai Weiwei developed an interest in art and enrolled at the Beijing Film Academy in 1978. However, he found greater inspiration in the avant-garde art collective Xingxing (“Stars”), which he joined. In 1981, Ai moved to the United States, settling in New York City. He studied at various institutions, including Parsons School of Design, and immersed himself in the city’s artistic and bohemian subculture.
Initially focusing on painting, Ai Weiwei soon transitioned to sculpture, drawing inspiration from artists like Marcel Duchamp and Joseph Beuys. He exhibited early creations, such as a wire hanger bent into Duchamp’s profile, in a solo show in New York City in 1988. However, finding little market for his work, Ai returned to Beijing in 1993 when his father fell ill.
Back in China, Ai Weiwei began exploring the complex relationship between a modernizing China and its cultural heritage. He created works that transformed ancient Chinese artifacts, such as painting the Coca-Cola logo on a Han dynasty urn (1994). He also collaborated on three books promoting avant-garde Chinese art, which became influential in the country’s underground art community.
In 2000, Ai gained recognition for co-curating an exhibition of outrageous art as an alternative to the Shanghai Biennale. The following year, he built his own studio complex on the edge of Beijing and founded the design firm FAKE to realize his architectural projects.
Ai Weiwei’s artistic practice expanded to include conceptual projects, such as “Fairytale” (2007), where he transported 1,001 ordinary Chinese citizens to Kassel, Germany, during the Documenta art festival. He also became increasingly involved in activism, using his art to address social and political issues in China.
In 2005, Ai started a blog on the Chinese web portal Sina, where he posted scathing criticism of the Chinese government. He disavowed his role in designing the National Stadium (“Bird’s Nest”) in Beijing, claiming the 2008 Olympics were tainted by corruption. Ai also launched a “citizen investigation” into the 2008 Sichuan earthquake, in which thousands of children died due to shoddy construction in public schools. His blog was subsequently shut down, and he was placed under surveillance.
Ai’s activism led to several confrontations with the Chinese authorities. In 2009, he was assaulted by police in Chengdu, where he was supporting a fellow activist on trial. He was also briefly placed under house arrest in 2010 to prevent him from attending a party at his studio complex in Shanghai, which was later demolished by the government.
Despite the challenges he faced, Ai Weiwei’s art gained international acclaim. In 2010, his installation “Sunflower Seeds” at the Tate Modern in London, featuring 100 million hand-painted porcelain seeds, earned widespread praise. Visitors were initially invited to walk upon the seeds, which Ai saw as a metaphor for the downtrodden Chinese populace. However, the exhibit was later roped off due to health concerns.
In 2011, Ai Weiwei was arrested at Beijing Capital International Airport and detained for 81 days without charge. The official reason given was “economic crimes,” but his arrest was widely seen as retaliation for his vocal criticism of the government. During his detention, international governments, human rights groups, and art institutions called for his release.
Since being allowed to leave China in 2015, Ai has lived and worked in various countries, including Germany, the UK, and Portugal. He continues to create art that addresses political and social issues, such as the Syrian refugee crisis. Ai has also advocated for the release of WikiLeaks founder Julian Assange and supported protests in Hong Kong.
Ai Weiwei is a courageous and influential artist whose work challenges societal norms and confronts political power. Through his art and activism, Ai Weiwei has become a powerful voice for dissent, using his platform to address human rights abuses and promote freedom of expression. Despite facing censorship, surveillance, and even imprisonment, Ai Weiwei remains unwavering in his commitment to speaking truth to power. His life and work serve as a testament to the transformative power of art and the enduring spirit of resistance.
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