Wednesday, August 12, 2009
Sunday, August 9, 2009
What is Beautiful?
The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason.
-- John Cage
-- John Cage
Wednesday, August 5, 2009
The Problem with Talk on Beauty
I have been in a quandary over which of the multitude of topics to pick from this book to address. So: I opened the book at random and read a passage and wrote about what came out of that passage.
Here is the passage:
“There, son. It’s better out than in, isn’t it,” said Harold quietly. Howard laughed softly at this phrase: so old, so familiar, so utterly useless. Harold reached forward and touched his son’s knee. then he leaned back in his chair and picked up his remote control.
“She found a black fell, I spose. it was always going to happen, though. It’s their nature.”
He turned the channel to the news. Howard stood up.
“Fuck,” he said frankly, wiping his tears with his shirtsleeve and laughing grimly. I never fucking learn.” He picked up his coat and put it on. :See you, Harry. Let’s leave it a bit longer next time, eh?”
“Oh, no!” whimpered Harold, his face stricken by the calamity of it. “What are you saying? We’re having a nice time, ain’t we?”
Howard stared at him, disbelievingly.
(p.301 of my edition).
One of the multitude of problems the people have in this book with each other is their inability to see beyond their own perspectives and their inability to escape their discourses. (Suggested Reading: Chapter one of Social Linguistics and Literacies, you can find it here ).
Howard and Harold cannot understand the other because each are speaking from a different ideological perspective. Howard and Monty can not speak civilly to one another because their discourses create a climate where one can only see the other through stereotypes of the other. Zora argues passionately for the admittance of nontraditional students at the university from her social justice perspective, but Carl doesn’t understand that perspective. He becomes defensive and sees her and the college as patronizing, patrician, and hypocritical. Levi understands what it means to be black only as far as he is allowed to by whatever media outlet he has access to; while the Haitian, Choo, (Levi cannot even allow him his own name), sees Levi in a seemingly clearer light; yet even his perspective is slanted by his view of the oppressive colonizing West. The climax of the book occurs when Kiki is shaken out of her take on the “stolen” picture (who it is stolen by is determined by whose perspective you follow), when Levi, now at least a little bit shaken out of his own middle-class perspective, reminds Kiki of her more youthful beliefs. Fittingly, Howard has his own epiphany and the hope of reconciliation with Kiki in a moment of silence. The slide show of Rembrant’s paintings where Howard does not talk and lets the power of the Art and the 30 year relationship between he and Kiki speak in a louder voice than either of the spouses could on their own.
This is only one of the many interlaced themes which washed over me in this incredibly lovely, dare I say “Beautiful,” book.
Here is the passage:
“There, son. It’s better out than in, isn’t it,” said Harold quietly. Howard laughed softly at this phrase: so old, so familiar, so utterly useless. Harold reached forward and touched his son’s knee. then he leaned back in his chair and picked up his remote control.
“She found a black fell, I spose. it was always going to happen, though. It’s their nature.”
He turned the channel to the news. Howard stood up.
“Fuck,” he said frankly, wiping his tears with his shirtsleeve and laughing grimly. I never fucking learn.” He picked up his coat and put it on. :See you, Harry. Let’s leave it a bit longer next time, eh?”
“Oh, no!” whimpered Harold, his face stricken by the calamity of it. “What are you saying? We’re having a nice time, ain’t we?”
Howard stared at him, disbelievingly.
(p.301 of my edition).
One of the multitude of problems the people have in this book with each other is their inability to see beyond their own perspectives and their inability to escape their discourses. (Suggested Reading: Chapter one of Social Linguistics and Literacies, you can find it here ).
Howard and Harold cannot understand the other because each are speaking from a different ideological perspective. Howard and Monty can not speak civilly to one another because their discourses create a climate where one can only see the other through stereotypes of the other. Zora argues passionately for the admittance of nontraditional students at the university from her social justice perspective, but Carl doesn’t understand that perspective. He becomes defensive and sees her and the college as patronizing, patrician, and hypocritical. Levi understands what it means to be black only as far as he is allowed to by whatever media outlet he has access to; while the Haitian, Choo, (Levi cannot even allow him his own name), sees Levi in a seemingly clearer light; yet even his perspective is slanted by his view of the oppressive colonizing West. The climax of the book occurs when Kiki is shaken out of her take on the “stolen” picture (who it is stolen by is determined by whose perspective you follow), when Levi, now at least a little bit shaken out of his own middle-class perspective, reminds Kiki of her more youthful beliefs. Fittingly, Howard has his own epiphany and the hope of reconciliation with Kiki in a moment of silence. The slide show of Rembrant’s paintings where Howard does not talk and lets the power of the Art and the 30 year relationship between he and Kiki speak in a louder voice than either of the spouses could on their own.
This is only one of the many interlaced themes which washed over me in this incredibly lovely, dare I say “Beautiful,” book.
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