Friday, February 26, 2016

Hurts So Good

Books: A Little Life

Once in a great while I'll read a book that is so good, I'll stand up in my apartment and say out loud "SOOOOOO GOOOOOOOD" like I'm some kind of demon being showered in virgin's blood.

A Little Life, Hanya Yanagihara's 720 page doorstop of a novel, is such a book. Reading it was an ecstatic experience for me. It's a very intense, emotionally hardcore book, but written so well that it grips your heart and slithers into your brain.

A Little Life is the story of four college friends who move to New York City and begin to pursue their careers. They are: Malcolm Irvine, the biracial son of wealthy parents, who works at a fancy architecture firm; JB Marion, a temperamental, gay artist who acts like a spoiled baby at times because he was raised by his overly accommodating mother, aunts, and grandmother; Willem Ragnarsson, an aspiring actor with dead parents who is as kind and gentle as he is handsome; and Jude St. Francis, a law student who eventually becomes a vicious litigator. Jude was abandoned near a dumpster at birth and raised in a monastery. He remains closed off about his past, even to his closest friends, and suffers mysterious pains and ailments.

Although the book follows all four friends into mid-life, A Little Life is Jude's story. From the get-go it's clear that something went terribly wrong in Jude's childhood, but Yanagihara reveals the extent of the horrorshow of his life slowly and tantalizingly. The reader finds out he cuts himself. That he's never had a girlfriend or boyfriend. That the agonizing pains he experiences in his back and legs stem from a "car injury" (note, not an "accident", an "injury"). Because Jude is so taciturn around his friends, Yanagihara makes the reader feel like they're being let in on a secret--a terrible series of secrets. And she does a cruel thing as well: she makes the reader feel an enormous connection to the characters, and to Jude in particular, so that when all is revealed, his pain is your pain. Much like his friends who are loyal to Jude for decades, the reader feels helpless, angry, and frustrated at Jude's stubborn insistence that his past will haunt and cripple him until his death. I can't speak for other readers, but I felt like I had fallen in love with him by the end of the book.

Some readers won't like this. A Little Life has been described as "excessive" and "tragedy porn", and I see exactly where that sentiment is coming from. The sufferings heaped on Jude are so constant and awful, that the book seems almost Biblical or Shakespearean. A Little Life is undoubtedly about pain and the repercussions of abuse...but it's also about hope and grace and friendship. More details on this later.

Despite the heaviness of its plot, A Little Life is staggeringly beautiful and unique in its vision of the world. I was drawn to book from the first moment I saw its cover:


When I first saw it, beckoning me from a table in Barnes & Noble, I thought the cover image was of woman. I drew closer and saw that it's actually a picture of a young man. It seems clear that he is in some kind of emotional agony or pain. In fact, the cover shot is titled "Orgasmic Man" and is a photograph by Peter Hujar, who did a series in the late 1960's of men's faces while they...well, you know. What you're looking at here is not the face of a man at a nadir of pain, but rather at a zenith of pleasure. But who could really tell the difference? And that's what makes both the cover of the book, and the story inside the book so compelling--the story examines both extremities in life: a childhood of abuse that leads to a lifetime of emotional and physical pain, paired with explorations of love and friendship and hope so sweet that it almost feels painful. The two extremes are so intimately entangled that it's hard to differentiate them in the end.

Plot spoilers below! I'm not kidding!



It's not hard to guess at the generalities of Jude's past, but the almost baroque intensity of his abuse is shocking. He is sexually and physically abused by the monks who raised him. He is then abducted by one of the monks, Brother Luke, and taken on a cross-country trip where Luke allows him to be raped by men for money. Interestingly, in his memories, Jude refers to these men as "clients", not rapists or abusers, which makes sense given Jude's internalizing of what happened to him. He grows up thinking, as Brother Luke tells him, "You were born for this." He believes he was born to be used and that he deserves all the pain he receives.

Jude is rescued at age 12, only to be sent to a home for boys where he is further sexually and physically abused. He escapes and hitchhikes (using his body as payment, naturally) across the country until he is kidnapped and held captive by yet another adult man who tortures him and attempts to kill him, which results in a spinal injury that a doctor describes as an "insult to the body". It is only then that Jude St. Francis, age 15, is actually rescued by a social worker and sent to college at 16, where he meets Willem, Malcolm, and JB...and he begins to try to distance himself from the horrors of his childhood.

And then, despite his strangeness, his inability to discuss his past, his self-hatred, Jude is shown unconditional love by many friends throughout the rest of his life. In his adulthood, he is legally adopted by his mentor from law school, Harold, and Harold's wife. He is surrounded by friends and is considered almost scarily competent at his job. In perhaps the most surprising turn of events, his decades-long friendship with Willem shifts into something more as he and Willem enter their late-40's. I suspect some readers will call bullshit on this, as Willem is essentially heterosexual until he, conveniently, and almost by sheer force of will, falls in love with Jude.

The fluid sexuality of the characters in A Little Life, as well as the unrealistic cruelties and love shown to Jude, in addition to the fact that the story seems to take place in a continuous present day (the book covers five decades, but there are no indications of what year it is. Computers exist when Jude is a child, suggesting that the end of the book happens around 2050), mark the book as existing somewhere outside of our current reality. I referred to the suffering in the book as "Biblical", and indeed other reviews have described the novel as "mythic", or even possibly set in an alternate reality. I don't think Yanagihara intended the book to be speculative fiction, but I do think that--not unlike the world created by director Peter Strickland in my favorite movie of 2015--she created her own version of reality in the service of telling this story.

And like Strickland's Duke of Burgundy, which takes place in a world without men, A Little Life is almost entirely free of women. There are female characters--the social worker who rescues 15 year old Jude is a woman; Jude's adopted father Harold has a wife, Julia; and there are various female friends and girlfriends who enter and exit the story. But the number of lines spoken by women in this 720 page book probably amounts to less than 10 pages. But I don't believe this authorial choice is sexist or misogynist. I believe Yanagihara stripped women completely out of the picture in order to focus on what it means for men to love other men, as friends or as something else. And also to focus on the ways in which men destroy other men, as Jude is systematically dismantled by the endless series of men who beat and rape him.

Whether Yanagihara's insights into male love and male hate are accurate or not, I can't say. But I love the relationship she creates for Jude and Willem--the friendship that is *more* than friendship, but is not a traditional romance either (especially since Jude can't stomach sex, and he and Willem have an affectionate, but ultimately celibate relationship). It did make me wonder: are there men out there who have friendships like this? Women are at least given the freedom to be openly affectionate with one another. When I visit my best friend, we sleep in the same bed together and think nothing of it. We say "I love you" to each other and mean it. Do men who don't identify as gay have this? And what would the world be like if they did?

/End spoilers


A Little Life is like no other book I've read before. It seized my heart and then took a scalpel to it, slowly, painfully, and elegantly tearing it apart. As I mentioned above, extremes of love and pain are explored in A Little Life, yet it doesn't feel cheap or melodramatic or inauthentic--at least not to me. In fact, the characters felt so real, that it was hard to accept that the book had to end and there would be no more fussy Malcolm, or bitchy JB, or gentle Willem, or tortured Jude. Those 720 pages are all there is, and it's just not enough for me.

Grade: A+



Thursday, February 25, 2016

Captain Snark

Movies: Deadpool

Deadpool knows that the way to this movie-lover's heart is through profane language and raunchy jokes about pegging (Google it. Not on your work computer).

I've never much been one for superhero movies, although between Jessica Jones on Netflix and Tim Miller's irreverent, fourth-wall breaking Deadpool in theatres, I'm realizing that there IS a place for me--someone who couldn't give a hoot about fight scenes and shit blowing up--in the vast superhero genre.

I like my heroes morally compromised. I don't want no goody two-shoes muscle man in a cape going around pulling kittens out of trees. I want my heroes to be hard-drinking, no bullshit, sarcastic, tortured, promiscuous smart asses. And Deadpool (as well as the above-mentioned Jones, which I shall review later) delivers.

Ryan Reynolds--the subject of a recent clickbait article on Jezebel where the author feels that much like Gretchen Weiner's use of the term "fetch", we should just stop trying to make Reynolds happen--plays Wade Wilson, an amoral mercenary who does things like rough up stalkers and other baddies for money and dates a beautiful, intelligent stripper (this is still a Hollywood fantasy after all). Things are going pretty well for Wade...until it is revealed that his extremely hot, jacked body is actually riddled with cancer.

Desperate to save his own life, he seeks out an experimental treatment that will supposedly not only cure his cancer, but give him incredible powers. The "treatment facility" ("torture dungeon" is really a more fitting description) is overseen by a sadistic man named Ajax whose goal is not to create superheroes, but super-slaves: people with amazing abilities who are so broken after endless rounds of torture that they become his obedient servants. Ajax promises to wipe the wiseass sense of humor out of Wade, who replies, "We'll see about that."



Ajax's methods do indeed bring out the powers in Wade--by the end of his "treatment", Wade is now indestructible. He cannot be killed. Cut off his hand and it grows back. Shoot him in the ass and the wound heals instantly. An unfortunate side effect is that Wade looks hideous--like he has third degree burns all over his body. He is convinced that his girlfriend, Vanessa, will never want to be with him again given his gruesome visage.

It's pretty cool that male body insecurities play a huge role in the plot of this film.

Now going by the name Deadpool, with a tight costume to show off his still quite amazing ass, Wade focuses his energies on finding Ajax and taking revenge. And unlike other superheroes who are morally averse to killing, Deadpool has no such code of honor, leaving a bloody trail behind him on his quest to find his tormentor.

Although some may find it tiring, the best thing about this film is its irreverent (I love that word) sense of humor. With apologies (or not) to the Jezebel article above, Reynolds is actually the perfect actor for this role. He is hilarious and sexy in a glib, wink-wink kind of way. Also, although the movie only hints at it, Deadpool is actually pansexual, which means he's into women, men, and all manner of people in between and outside of the gender spectrum. Reynolds portrays him as a flirt who cracks jokes about how his off switch is near his prostate--"Or is that the on switch?". But it's pretty cool to see such a fluidly sexual, over-the-top character, especially in a genre that is closely tied to traditional depictions of masculinity.

Deadpool was extremely entertaining and fun. Paired with last summer's Mad Max: Fury Road, it's yet another example of a genre film breaking the mold and achieving a level of innovation that's frankly fucking refreshing after a thousand dumb Marvel movies.

Grade: A-

And his costume makes him look like he's wearing nothing at all...nothing at all...nothing at all...
 
  

Saturday, February 20, 2016

All of Them Witches

Movies: The Witch

It is scary to think about America's roots...how much of it is based in hysterical religious fanaticism. To read an American history textbook is to read a horror story itself: genocide, slavery, hangings, conquering, brute force...all alongside progression, bravery, a thirst for freedom. America is a land of bifurcated people: lust for money, power, and sex, but held fast by a deep-seated history of Christianity that demands we reject pleasure and desire and sin. We didn't need Orwell's 1984 to teach us the concept of "double-think" because we live it every day, and always have.

We're a fucked up bunch, y'all. Which makes Robert Eggers' freshman film The Witch (subtitled A New England Folktale) such a keen horror story that looks into the heart of early America's religious fundamentalism and paranoia.

The film takes place in 1630, 60 years before the events at Salem, Massachusetts. A family of puritans is cast out from their small plantation village and seeks a new home near the foreboding woods. William, the patriarch of the family, is convinced they'll have a better life away from what he considers to be the "false Christians" at the plantation. His wife, Katherine, is unconvinced. They have five children: eldest daughter Thomasin (played by wide-eyed newcomer Anya Taylor-Joy), son Caleb, younger twins Mercy and Jonas, and baby Samuel. When Samuel disappears one day during a game of peek-a-boo with Thomasin, the family is torn apart by grief...and an increasing sense of terror about the woods around them.

The Witch is not a typical horror movie. There aren't many jump scares or gory special effects. The film is dedicated to historical accuracy, not just in clothing and scenery, but in dialogue, and it's difficult to understand half of what the characters are saying. They're speaking English as it was spoke 380 years ago, with "thines" and "thous" aplenty, which makes them sound at times as if they're speaking a different language entirely.


While the film makes good on its promise of supernatural hijinks, the real horror is the paranoia the family falls into after Samuel the baby is gone and Caleb falls ill after being lost in the woods overnight. Mercy and Jonas accuse Thomasin of being a witch, and instead of thinking that the 7 year old twins are clearly making believe, William and Katherine believe them instantly...forcing Thomasin to defend herself and even accuse Mercy of witchcraft. To me, the ease with which people took the accusations of children seriously was the most chilling part of the film, especially knowing that this is precisely what happened at Salem decades later, leading to the deaths of innocent people.

But another aspect of The Witch is its feminist subtext. Being a Puritan must have been hellish. In addition to the struggle of carving out a life in the wilderness, the Puritans lived lives of guilt and fear--fear of an angry God and of eternal damnation. Being a Puritan woman was especially difficult, given that women were considered by nature evil during this time (a far cry from Victorian America's view of women as pure, gentle "angels of the home"). Thomasin faces the brunt of religiously-based misogyny in this film and is a symbolic stand-in for both the girls who accused others of being witches in Salem and the accused themselves.

Did witchery really happen at Salem, or throughout Europe during the witch hunts? Did women truly dance naked with the Devil? I personally don't believe so, but if you were a woman during these eras--repressed to the point of insanity, wouldn't you want to act out by seizing on the floor, by screaming and accusing others, by taking your clothes off and running through the woods? I know I would. When acting insane is the only escape, then insane we act. Part of the pleasure of doing things you were raised not to do--have sex, drink, vote for Green Party candidates--is the ability to throw "virtue" back in the face of whoever taught it to you. And the girls of Salem did exactly that.

The Witch is both a fictional, supernatural horror film and a metaphor for America itself: a land and a people that pride independence, perseverance, wanderlust, and hard work...but also a deep-seated fear of pleasure, of sex, of women, and a need to control all these things, even if it means burning them at the stake.

Grade: B-

Saturday, February 6, 2016

Man Vs. Nature

Movies: The Revenant

It's very likely that you've already heard all there is to hear about Alejandro Gonzalez Inarritu's The Revenant and formed an opinion about it. This review probably won't offer many surprises. Simply put, The Revenant is overly long and somewhat boring. It has beautiful scenery and a compelling, solid performance by Leonardo DiCaprio that will inevitably land him a Best Actor Oscar this year, not so much for this particular performance, but for all the amazing work he's done since, well, What's Eating Gilbert Grape.

Some people were blown away by The Revenant, but I thought it was simply good. For one thing, the 156 minute running time is unnecessary. 20-30 minutes could have easily been shaved off the film and it would still be the exact same film. Secondly, I have to say that Leo's character, real-life fur-trapper Hugh Glass, is not all that interesting. Certainly, Glass's story is mind-blowing: he was mauled by a bear during a hunting expedition and left for dead by Fitzgerald and Bridger, two men commanded to watch over him. He survived the mauling and pursued the men for 200 miles. The film adds the (fictional?) plot line of Fitzgerald (played by Tom Hardy) killing Glass's half-Pawnee son, Hawk, which gives Glass extra motivation to survive. But apart from watching Leo's Glass hang on to life by the skin of his teeth, there's not a lot of...depth here.

On the other hand, Hardy gives an interesting and entertaining performance as Fitzgerald. He's the villain of the movie (second only to cruel Mother Nature, of course) but more incredibly self-centered than evil. My favorite scenes were hands down the ones with Hardy, as he manipulates the Bridger (Will Poulter) into leaving Glass for dead and teaches the young man some rather hard knocks of life.

Glass faces so many challenges that it's difficult to believe. After surviving the bear attack (which is a GREAT scene by the way), he avoids starving by eating marrow out of dead bison bones. He nearly drowns in a river. He is chased by Native Americans on horseback. He rides that same horse OVER A CLIFF, survives, and uses the dead horse's carcass as a sleeping bag of sorts so that he doesn't freeze to death. Now, I haven't read anything other than the Wikipedia article on Hugh Glass, but holy shit I don't know if I believe the guy rode a horse over a cliff and lived. In any case, I literally laughed out loud in the theatre when that happened because it seemed so ridiculous to me.

Leo wheezes and grunts as he toils and suffers through his journey. Apparently, he did a lot of suffering for the film in real life, working in freezing conditions and eating raw meat. He definitely committed to it and deserves all the awards he gets. Leo is known for his intensity onscreen, though I prefer movies where he has more than 10 lines of dialogue.

Ultimately, The Revenant is exactly what most people will expect it to be: a brutal film that juxtaposes the extreme beauty of nature with its extreme not-giving-a-shit about human life and comfort. The main thing I took away from The Revenant is that nature is a bitch that wants you to die. And when you're out in the wilderness, lost and injured as Glass was, you're just part of the food chain.

Grade: B-