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55 Classics Review # 13 – The Peril At End House by Agatha Christie


At the risk of sounding like an old woman, I will tell you shamelessly that I love Agatha Christie’s work. I know many people who keep the Sherlock Holmes passion alive, but I don’t know many Christie fans and I honestly have no real idea of whether I fall into a normal demographic for current readers. I’m not generally a voracious reader of mysteries, but I am always eager to understand what is great in any fiction that has become classic in some way, so I long ago found myself dabbling in and delighted by the second best selling author of all time.

I chose Peril At End House for this list because it is one of the highest rates titles I hadn’t yet read. I have to admit that after I got a few chapters in I realized that I had seen the David Suchet adaptation, but it had been long enough that I was still completely without a clue throughout the story. I actually remembered just enough to further throw myself off the scent as the plot thickened.

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This story follows the famous Hercules Poirot, Belgian detective turned British private investigator. At the onset of a seaside vacation with his good friend Captain Hastings, Poirot announces that his is retiring entirely from the detecting business, sighting his age as sufficient reason for stepping out of the game. Within minutes he smells foul play, taking personal interest in preventing what he suspects is a murder in the making, and recanting his retirement. From here, the book quickly spins out a cast of versatile and interesting characters and events designed to completely baffle the reader. Christie is great for crisscrossing the tracks of an ensemble of possible perpetrators, motives, and incomplete events. It is up to the reader to beat the detective in piecing together what was sinister and what was circumstance.

Christie has a great style. She writes in a very simple, matter-of-fact way that seems almost effortless but actually brings out the genius of her work. Anyone who has tried their hand at writing fiction knows that writing something in a way that makes it impulsively readable is often the most difficult task to accomplish. Her simplistic style makes it easier for the reader to latch on to the ideas and emotions of the characters and overlook the important details dropped here and there. She writes to lull you away from critical thinking. That being said, her stories are written more to keep you on the edge of your seat than to make perfect sense. She will usually give you a twist ending that works, but one that leaves a few weak plot points. If you’re frustrated when you don’t have sufficient information to beat the sleuth to the conclusion, you might find this book, among her others, just a bit aggravating.

Overall, Christie makes for a great read. I once read an espionage thriller she wrote near the end of her career and found it horrible. The Mysterious Affair At Styles is still one of the most remarkable books I’ve ever read, and it was her first. Overall, Christie does a remarkable job of writing extremely well, creating enjoyable characters, and finding a balance in plots that come back together well while maintaining a truly complex, twist endings. Anyone who likes a bit of mystery should enjoy The Peril At End House.

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Further Reading

“On Stories” by C.S. Lewis

“Heavy Weather” by P.G. Wodehouse

“The Man Who Was Thursday” by G.K. Chesterton

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“American Meat” In Review


Recently, my wife and I watched a little documentary entitled “American Meat.” I call it little because it doesn’t look like much at first, but this lower budget documentary offers more than first meets the eye. I just happened upon it and the cover (complete with Joel Salatin cover) made me interested to view it. I was surprisingly refreshed both by the content and the way they chose to approach it.

Documentaries often carry an air of theatricality. Perhaps that is really what makes this film stand apart, seemingly low budget in a good way. The goal in writing a documentary is usually to either reveal something in a shocking, journalistic manner or to bring a comforting, self-discovery. Any documentary about social woes and systematic problems is generally going to lean heavily on creating intense moods and starkly contrasting victims and monsters. Not so here. The film was an honest look at the farmers. Farmers across the spectrum. Farmers who have committed themselves wholeheartedly to industrial farming, farmers who are still relying on industrial farming but would love a better option they could rely on, farmers who have established alternative and highly functional farming methods (mainly Joel Salatin here), and younger people who are turning to farming and learning and innovating new methods.

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The thing that was so incredibly pleasant about this film was how positive it stayed. The question all along was simply “is this a good way and, if not, is there a feasible alternative method?” There is zero emphasis on the way the system has gotten so bad, or who is responsible for the flaws. There is only emphasis on understanding those who find themselves at the forefront of the problems, and gentle encouragement to believe that proactivity can create a real turn around. This film is utterly without pretense and completely bolsters your belief in humanity and the ability for relationships to breed community and the ability for community to produce national change. If you have watched Food Inc. and similar documentaries and find you have any interest in the food and farming situations current in the United States, I cannot recommend any documentary above this one.

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On a separate and similar note, I would encourage anyone seriously interested in getting hands on experience on a farm or getting back into the farming business to check out the Salatin family’s newest project, EagerFarmer. EagerFarmer could easily be the catalyst for the change American Meat proposes. It is basically a classified ad service for those looking to learn to farm, find gainful farm employment, find farm help, or get farmers on their unused land. I’ve been eagerly browsing and dreaming, and I encourage both in you.

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Further Reading

 

Michael Pollan Didn’t Start This

Tolkien and Lewis On Living Off The Land

Wendell Berry On Paths And Roads

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Be Known


To know
And be know
A heart’s anxious desire

From you all beauty grows
From you all folly spreads

For family to know
Beyond the burden
For highlights and low
Are etched eternally
Beyond consciousness

For friends to know
What delights them is but shadow
Of the shocking unknown
Bringing relief for a lifetime
Without inspection

To be known does not come between men any longer

Why go on?

An insult
In jest
Is folly

An opinion
Interjected
Is a rift

Why seek to grasp the wind?

- by M. Landers, June 2014

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Further Reading

Wendell Berry’s Greatest Poem

Gal. V & VII by M. Landers

Wendell Berry On War And Children

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Bill Watterson Makes A Case For Art


These three strips [Peanuts, Pogo, and Krazy Kat] showed me the incredible possibilities of the cartoon medium, and I continue to find them inspiring. All these strips work on many levels, entertaining while they deal with other issues. These strips reflect uniquely personal views of the world, and we are richer for the artists’ visions. Reading these strips, we see life through new eyes, and maybe understand a little more – or at least appreciate a little more – some of the absurdities of our world. These strips are just three of my personal favorites, but they give us some idea of how good comics can be. They argue powerfully that comics can be vehicles for beautiful artwork and serious, intelligent expression.

In a way, it’s surprising that comic strips have ever been that good. The comics were invented for commercial purposes. They were, and are, a graphic feature designed to help sell newspapers. Cartoonists work within severe space constraints on an inflexible deadline for a mass audience. That’s not the most conducive atmosphere for the production of great art, and of course many comic strips have been eminently dispensable. But more than occasionally, wonderful work has been produced.

Amazingly, much of the best cartoon work was done early on in the medium’s history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it. As a cartoonist, it’s a bit humiliating to read work that was done over 50 years ago and find it more imaginative than what any of us are doing now. We’ve lost many of the most precious qualities of comics. Most readers today have never seen the best comics of the past, so they don’t even know what they’re missing. Not only can comics be more than we’re getting today. but the comics already have been more than we’re getting today. The reader is being gypped and he doesn’t even know it.

Some very good strips have been cheapened by licensing. Licensed products, of course, are incapable of capturing the subtleties of the original strip, and the merchandise can alter the public perception of the strip, especially when the merchandise is aimed at a younger audience than the strip is. The deeper concerns of some strips are ignored or condensed to fit the simple gag requirements of mugs and T-shirts. In addition, no one cartoonist has the time to write and draw a daily strip and do all the work of a licensing program. Inevitably, extra assistants and business people are required, and having so many cooks in the kitchen usually encourages a blandness to suit all tastes. Strips that once had integrity and heart become simply cute as the business moguls cash in. Once a lot of money and jobs are riding on the status quo, it gets harder to push the experiments and new directions that keep a strip vital. Characters lose their believability as they start endorsing major companies and lend their faces to bedsheets and boxer shorts. The appealing innocence and sincerity of cartoon characters is corrupted when they use those qualities to peddle products. One starts to question whether characters say things because they mean it or because their sentiments sell T-shirts and greeting cards. Licensing has made some cartoonists extremely wealthy, but at a considerable loss to the precious little world they created. I don’t buy the argument that licensing can go at full throttle without affecting the strip. Licensing has become a monster. Cartoonists have not been very good at recognizing it, and the syndicates don’t care.

And then we have established cartoonists who have grown so cavalier about their jobs that they sign strips they haven’t written or drawn. Anonymous assistants do the work while the person getting the credit is out on the golf course. Aside from the fundamental dishonesty involved, these cartoonists again encourage the mistaken view that once the strip’s characters are invented, any facile hireling can churn out the material. In these strips, jokes are written by committee with the goal of not advancing the characters, but of keeping them exactly where they’ve always been. So long as the characters never develop, they’re utterly predictable, and hence, so easy to write that a committee can do it. The staff of illustrators has the same task: to keep each drawing so slick and perfect that it loses all trace of individual quirk. That way, no one can tell who’s doing it. It’s an assembly line production. It’s efficient, but it makes for mindless, repetitive, joyless comics. We need to see more creators taking pride in their craft, and doing the work they get paid for. If writing and drawing cartoons has become a burden for them, let’s see some early retirements and some room for new talent.

- Bill Watterson, from his speech “The Cheapening Of Comics,” addressed to the Festival Of Cartoon Art, 1989.

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Krazy Kat, by George Herriman

 

I recently watched the documentary Dear Mr. Watterson, and was immediately overwhelmed by a childhood’s worth of nostalgia and creative passion. The film is parts recollections on the personal impact of Calvin And Hobbes and part biography of the short and fascinating public life of Bill Watterson, a man shot to improbable fame before becoming a critic of his industry, retiring early, and successfully seeking reclusion. It’s a great film and it is available on Netflix among most other popular sources. Go watch it immediately if you find comic strips or artistic bios interesting in any way.

The film observes two aspects of Watterson’s perspective that I see as really being opposite sides of the same coin. Watterson was a very vocal as a critique of licensing and the stranglehold syndicates required of cartoonists before the internet age. The other point I came away with was that comics have never been considered a legitimate or “high art” form, regardless of their innovations in scripting and illustration. These two problems seem to be really one and the same, as Watterson indicates.

Comics were bred as a form of bizarro advertising. Think of them as visual editorial columns, intended to draw the eye and lure readers to commit to a certain competing newspaper through the use of staff illustrators. After a lot of natural evolution, the comics became individual artistic creations sold to multitudes of papers through syndications. This makes for a lot of odd standards as far as what relationships are considered normal. Watterson wanted integrity for comics as an art form, which was undermined completely by the continuation of their advertising roots. The art form quickly grew away from that starting point in a golden era but slowly waned back toward simple advertising through licensing when the money moved away from the papers themselves.

Watterson can feel a bit extreme in his condemnations at times, but he stands as a living example of exactly how much value a work can retain in itself when it doesn’t go to auction for the production lines. His tested his argument for himself and found greater success and finer work. The problem is how do you convince and entire industry to hold creative integrity over financial profit?

Pogo, by Walt Kelly

Pogo, by Walt Kelly

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Further Reading

 

Norton Juster On The Agony Of Creating

Hal Foster On Story V. Illustration

Bill Watterson Encourages Playing

Jules Feiffer Encouraged Failure

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Harold Foster On Story V. Illustration


Fred Schreiber: Do you consider yourself primarily a cartoonist or an illustrator? And where do you draw the distinction?

Hal Foster: There’s no distinction. One runs into the other. Of course, I can’t “cartoon”; I am an illustrator. But where the cartoonist ends and the illustrator begins is pretty hard to say; it all hinges on the writing, on the story. In my estimation the story is the most important thing. The illustrations are just meant to give another dimnension to a story, which has to be cut down into little captions; the illustrations are necessary to carry the story on from captions. But, of course, it doesn’t make any difference how well you illustrate the story–you can get away with a good story poorly illustrated, but not vise versa.”

FS: What is your opinion of the current state of the comic strip? How would you compare it to that of the old days?

HF: It’s not as individual. Before, in the early times, each cartoonist had his own individual ideas and carried them out alone; one man did the whole thing. But now so many facets have come into it that you need assistants to do backgrounds and other things. Sometimes the work is divided between writer and illustrator. But as you take it down to each degree, it loses some of its personality, so that no matter how beautiful the drawings, no matter how good the story, somehow there seems to be something lacking that was present in the old comics. Of course, these were crude–but somehow they had more personality than they do today.”

- Interview for SOCERLID, 1969
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Although his name has passed into obscurity today, Hal Foster is the definitive force behind action comics strips. He single-handedly created the crossover success of Tarzan and then went on the write and illustrate his own work in Prince Valiant, the longest running action comic in the newspaper business. As you can see, the man’s artistic skills bring an incredible level of realism to the art form. The quality of his work makes the panels seem to move with the action.

It is fascinating, then, to see such an awe inspiring illustrator who is more interested in the telling of the story than the stunning visuals. “The story is the most important thing.” He goes on in this interview to explain that his preference of working in action comics over humor strips is not that he prefers reading them so much as it is that he loves being a story writer first and foremost. It is obviously this quality which has kept his strip alive long after his own demise.

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In even a quick overview of the original great comics, it is easy to see the honesty in Foster’s qualifications of “the old days.” The old comics were, first and foremost, essentially quirky. Each had its own surrealism, it’s own fantasy that transcended dreamscapes and talking animals. A comic strip created and sustained by one man offers a unique look into the world within another man’s head.

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Keep Reading

Bill Watterson, Michaelangelo, and Play

Samuel Beckett and The Value Of Depression

Bill Watterson On A Creative’s Ethics

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Wendell Berry’s “Manifesto: The Mad Farmer Liberation Front”


Love the quick profit, the annual raise,
vacation with pay. Want more
of everything ready-made. Be afraid
to know your neighbors and to die.
And you will have a window in your head.
Not even your future will be a mystery
any more. Your mind will be punched in a card
and shut away in a little drawer.
When they want you to buy something
they will call you. When they want you
to die for profit they will let you know.

So, friends, every day do something
that won’t compute. Love the Lord.
Love the world. Work for nothing.
Take all that you have and be poor.
Love someone who does not deserve it.
Denounce the government and embrace
the flag. Hope to live in that free
republic for which it stands.
Give your approval to all you cannot
understand. Praise ignorance, for what man
has not encountered he has not destroyed.

Ask the questions that have no answers.
Invest in the millennium. Plant sequoias.
Say that your main crop is the forest
that you did not plant,
that you will not live to harvest.
Say that the leaves are harvested
when they have rotted into the mold.
Call that profit. Prophesy such returns.

Put your faith in the two inches of humus
that will build under the trees
every thousand years.
Listen to carrion – put your ear
close, and hear the faint chattering
of the songs that are to come.
Expect the end of the world. Laugh.
Laughter is immeasurable. Be joyful
though you have considered all the facts.
So long as women do not go cheap
for power, please women more than men.
Ask yourself: Will this satisfy
a woman satisfied to bear a child?
Will this disturb the sleep
of a woman near to giving birth?

Go with your love to the fields.
Lie down in the shade. Rest your head
in her lap. Swear allegiance
to what is nighest your thoughts.
As soon as the generals and the politicos
can predict the motions of your mind,
lose it. Leave it as a sign
to mark the false trail, the way
you didn’t go. Be like the fox
who makes more tracks than necessary,
some in the wrong direction.
Practice resurrection.

- Wendell Berry
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Anyone who has clicked more than once on this blog knows that Wendell Berry is somewhat of an idol for me. He sentences are weighty and easy to cherish, whether prose, poetry, or essay. Indeed, I think it is his poetry even more than Keats’ or Elliot’s that has established the value of the art form in me.

This piece is so typically Berry, going infinitely deep with so few words. The aspect I reflect on here is how effortlessly he expresses highly subversive ideas in a completely legitimate human frame. He reflects on ideas of what makes us most human (planting, motherhood, caring for one another, heritage) and validates those as reasonable motivations to revolt against quick living, thoughtless consumption, and political imperialism.

I need to meditate on this daily.

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Keep Reading

What Mary Berry Expects From Her Father

Masanobu Fukuoka On The Philosophy Behind Our Science

For Courage Of Quiet Mothers by M. Landers

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Bill Watterson On Ethics In Business And Art


Like many people, I found that what I was chasing wasn’t what I caught. I’ve wanted to be a cartoonist since I was old enough to read cartoons, and I never really thought about cartoons as being a business. It never occurred to me that a comic strip I created would be at the mercy of a bloodsucking corporate parasite called a syndicate, and that I’d be faced with countless ethical decisions masquerading as simple business decisions.
To make a business decision, you don’t need much philosophy; all you need is greed, and maybe a little knowledge of how the game works.

As my comic strip became popular, the pressure to capitalize on that popularity increased to the point where I was spending almost as much time screaming at executives as drawing. Cartoon merchandising is a $12 billion dollar a year industry and the syndicate understandably wanted a piece of that pie. But the more I though about what they wanted to do with my creation, the more inconsistent it seemed with the reasons I draw cartoons.
Selling out is usually more a matter of buying in. Sell out, and you’re really buying into someone else’s system of values, rules and rewards.
The so-called “opportunity” I faced would have meant giving up my individual voice for that of a money-grubbing corporation. It would have meant my purpose in writing was to sell things, not say things. My pride in craft would be sacrificed to the efficiency of mass production and the work of assistants. Authorship would become committee decision. Creativity would become work for pay. Art would turn into commerce. In short, money was supposed to supply all the meaning I’d need.

. . .

You will find your own ethical dilemmas in all parts of your lives, both personal and professional. We all have different desires and needs, but if we don’t discover what we want from ourselves and what we stand for, we will live passively and unfulfilled. Sooner or later, we are all asked to compromise ourselves and the things we care about. We define ourselves by our actions. With each decision, we tell ourselves and the world who we are. Think about what you want out of this life, and recognize that there are many kinds of success.

Many of you will be going on to law school, business school, medical school, or other graduate work, and you can expect the kind of starting salary that, with luck, will allow you to pay off your own tuition debts within your own lifetime.

But having an enviable career is one thing, and being a happy person is another.

Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. Ambition is only understood if it’s to rise to the top of some imaginary ladder of success. Someone who takes an undemanding job because it affords him the time to pursue other interests and activities is considered a flake. A person who abandons a career in order to stay home and raise children is considered not to be living up to his potential-as if a job title and salary are the sole measure of human worth.
You’ll be told in a hundred ways, some subtle and some not, to keep climbing, and never be satisfied with where you are, who you are, and what you’re doing. There are a million ways to sell yourself out, and I guarantee you’ll hear about them.

To invent your own life’s meaning is not easy, but it’s still allowed, and I think you’ll be happier for the trouble.

 

- Bill Watterson, excerpts from his Kenyon College commencement speech, 1990. (Emphasis mine)

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In this age, comics are no longer part of an arts minority that deals closely with business. In there heyday, and still to come extent when this speech was written, comics and animation occupied a unique space closer to advertising. Today almost any artist in any medium, be it musical, visual, or otherwise, is encouraged to sell an image apart from the art itself. In such an interactive age, we have a hard time latching on to anything that isn’t heavily pitched and surrounded by positive reinforcements like ads and personalities. Artists like Banksy and Shepard Fairey have advanced graffiti as George Herriman and Winsor McCay advanced cartooning, bringing something seemingly overlookable to an inspiring level of creative genius. Graffiti is all the more potent, a form that is in itself a satire and push back against the dizzying advertising seen everywhere today. The documentary “Exit Through The Gift Shop” shows just how difficult it can be to keep motivations straight when fame and fortune lies in the route of getting famous by decrying the age of adventising.

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For Bill Watterson to proclaim that there is a “good life” available that is strategically lesser in material contents and governed firstly by ethics and second by personality and skill really splits the crowd. I can think of a good number of people I know who I would expect to respond to this type of thinking with a “but can’t we be ethical while climbing ladders and gaining affluence?” Sure, I suppose you can try, but you only get one go at it. Keep your eyes open, and good luck!

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Continue Reading

Charles Schulz’s Anxiety

J.R.R. Tolkien On Creativity And Death

Bill Watterson On Playing Well

 

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55 Classics Review # 12 – The Phantom Tollbooth by Norton Juster


I found quickly that The Phantom Tollbooth is one of those books that defined many people’s youthful reading. When I started it I found that it started conversations for me. This is a book that true fans read over again and often. It can be tricky to read something like this for the first time as an adult, but I think my slow start to the text actually helped to prepare me for the unique content of the book.

The Phantom Tollbooth is unlike any text I’ve read before. It feels surreal like Alice In Wonderland, fast and expansive like A Wrinkle In Time, and allegorical like Pilgrim’s Progress. Yet somehow it works in a way I wouldn’t have expected if you had simply explained these elements to me. It fits into a space in literature that seems wholly unique. I read The Dot And The Line a few years ago and loved it. After that I began to learn more about Norton Juster, and I find him to be a fascinating creative. There is something wonderful about people who make great work in a field they don’t consider to be their career. Juster was a career architect who also happened to write a definitive children’s book. He is an author not because he thought it was his calling but because he knew he had to write a certain story. The story found him.

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The Phantom Tollbooth is a great story. It follows a bored little boy called Milo as he uses a mysterious gift to travel to a land filled with allegory and puns. Along the way he hears all kinds of non-sensical advice and learns that there is more to words, numbers, common sense, art, and logic than he ever imagined. He even helps bring a little order back to the lands that have lost their Rhyme and Reason.

I really enjoyed the characters in this book, though the nature of the book really keeps them shallowly depicted. The story moves so quickly through so much space that its a sensory overload for both the characters and the reader, which probably contributed to how slowly I read this relatively short book. I delighted in many of the puns, but I also found myself constantly wondering if I had totally missed some of them when I didn’t find one where I might have expected to. The main idea is simply that there are a thousand directions to explore knowledge of all sorts, and that’s one message that is always exciting to behold. The main thrust of the discovering in the book is of the use of words, numbers, and the sensory. I loved the idea of the colors in the world being brought out through the silent playing of an entire orchestra, and I personally would have enjoyed more of these artistic fantasies rather than the mathematic and scientific ones.

Overall, I was delighted by The Phantom Tollbooth. I realized from the first chapter that if this book exists as a quintessential classic to so many people, I can hold on to hope for my own creativity. Often I am dissatisfied with my own creative endeavors for the reasons I’m dissatisfied with some classics. There are things that I don’t enjoy about books like this one and Alice In Wonderland and A Wrinkle In Time, but I’m always delighted that there are people out there with different tastes that go beyond my simple appreciation for this type of work to outright passion and accolade. The Phantom Tollbooth wasn’t written for someone like me, but I can greatly appreciate how much people love it and why.

 

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Keep On Reading!

What I Learned From My First Book Review

Norton Juster Says Creating Is Hard Work

Wandlung, by M. Landers

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Bill Watterson, Michelangelo, And The Importance Of Play


In the middle of my sophomore year at Kenyon, I decided to paint a copy of Michelangelo’s “Creation of Adam” from the Sistine Chapel on the ceiling of my dorm room. By standing on a chair, I could reach the ceiling, and I taped off a section, made a grid, and started to copy the picture from my art history book.
Working with your arm over your head is hard work, so a few of my more ingenious friends rigged up a scaffold for me by stacking two chairs on my bed, and laying the table from the hall lounge across the chairs and over to the top of my closet. By climbing up onto my bed and up the chairs, I could hoist myself onto the table, and lie in relative comfort two feet under my painting. My roommate would then hand up my paints, and I could work for several hours at a stretch.

The picture took me months to do, and in fact, I didn’t finish the work until very near the end of the school year. I wasn’t much of a painter then, but what the work lacked in color sense and technical flourish, it gained in the incongruity of having a High Renaissance masterpiece in a college dorm that had the unmistakable odor of old beer cans and older laundry.
The painting lent an air of cosmic grandeur to my room, and it seemed to put life into a larger perspective. Those boring, flowery English poets didn’t seem quite so important, when right above my head God was transmitting the spark of life to man.
My friends and I liked the finished painting so much in fact, that we decided I should ask permission to do it. As you might expect, the housing director was curious to know why I wanted to paint this elaborate picture on my ceiling a few weeks before school let out. Well, you don’t get to be a sophomore at Kenyon without learning how to fabricate ideas you never had, but I guess it was obvious that my idea was being proposed retroactively. It ended up that I was allowed to paint the picture, so long as I painted over it and returned the ceiling to normal at the end of the year. And that’s what I did.

Despite the futility of the whole episode, my fondest memories of college are times like these, where things were done out of some inexplicable inner imperative, rather than because the work was demanded. Clearly, I never spent as much time or work on any authorized art project, or any poli sci paper, as I spent on this one act of vandalism.

It’s surprising how hard we’ll work when the work is done just for ourselves. And with all due respect to John Stuart Mill, maybe utilitarianism is overrated. If I’ve learned one thing from being a cartoonist, it’s how important playing is to creativity and happiness. My job is essentially to come up with 365 ideas a year.
If you ever want to find out just how uninteresting you really are, get a job where the quality and frequency of your thoughts determine your livelihood. I’ve found that the only way I can keep writing every day, year after year, is to let my mind wander into new territories. To do that, I’ve had to cultivate a kind of mental playfulness.5gRpt

We’re not really taught how to recreate constructively. We need to do more than find diversions; we need to restore and expand ourselves. Our idea of relaxing is all too often to plop down in front of the television set and let its pandering idiocy liquefy our brains. Shutting off the thought process is not rejuvenating; the mind is like a car battery-it recharges by running.

You may be surprised to find how quickly daily routine and the demands of “just getting by” absorb your waking hours. You may be surprised to find how quickly you start to see your politics and religion become matters of habit rather than thought and inquiry. You may be surprised to find how quickly you start to see your life in terms of other people’s expectations rather than issues. You may be surprised to find out how quickly reading a good book sounds like a luxury.

At school, new ideas are thrust at you every day. Out in the world, you’ll have to find the inner motivation to search for new ideas on your own. With any luck at all, you’ll never need to take an idea and squeeze a punchline out of it, but as bright, creative people, you’ll be called upon to generate ideas and solutions all your lives. Letting your mind play is the best way to solve problems.

For me, it’s been liberating to put myself in the mind of a fictitious six year-old each day, and rediscover my own curiosity. I’ve been amazed at how one ideas leads to others if I allow my mind to play and wander. I know a lot about dinosaurs now, and the information has helped me out of quite a few deadlines.
A playful mind is inquisitive, and learning is fun. If you indulge your natural curiosity and retain a sense of fun in new experience, I think you’ll find it functions as a sort of shock absorber for the bumpy road ahead.

- Bill Watterson, excerpt from his commencement speech at Kenyon College, class of 1990.

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There are a thousand engaging reasons to love Calvin And Hobbes, but I find it is Watterson’s deep rooted sense of play that creates the transcending and nearly universal connection with readers. For all his shenanigans and misfittedness, Calvin is a kid who cherishes a passion for play and an untamable imagination. Anyone who has ever felt inspired by creativity or learning or the great outdoors can’t help but relate to what fuels this kid. While I’m not sure to what degree Watterson self-identifies with Calvin, he definitely pulled what he personally needed to maintain creativity in his daily life into the central theme of his strip. I find that the most relatable creations are often like this one, so intimately human that they defy succinct explanation.

 

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Further Reading

Bill Watterson On Ethics In Art Making

Rod Serling On Creative Censorship

Kingsley Amis and C.S. Lewis On The Value Of Sci-Fi

Samuel Beckett And The Value Of Depression

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55 Classics Review # 11 – Chitty Chitty Bang Bang by Ian Fleming


Like Mary Poppins, Chitty Chitty Bang Bang is a book I was most interested in because of my enjoyment of the film adaptation and one I found absolutely and entirely different from the film adaptation. Unlike Mary Poppins, Chitty Chitty Bang Bang is as superb a read as it is a film.

I loved the book and the film. That said, I am honestly at a loss for the bizarre variance of the film adaptation. The book was published the same year that Ian Fleming died. The film was produced only four years later by Albert Broccoli, the same man who contiually brought Fleming’s James Bond to the screen with such success. The prodigious Roald Dahl was one of the screenwriters who adapted wrote the film, which accounts for the spectacular and unique story. The only obvious similarities between these two film adaptations is that Dick Van Dyke stars in each and that those shifty geniuses the Sherman brothers wrote all the music for both films. “Me Ol’ Bamboo” stands firmly as my favorite choreographed number of all time. While there can’t be a correlation through their involvement, one does wonder at the willingness of such a creative duo to sign on with projects that trample on the writing of other great artists.

The book is short, and the story feels a little short. Perhaps this sensation is heightened by the contrast of the multiple plots in the Roald Dahl screenplay. The book, set about 50 years after the film adaptation, follows the Potts’ family (living mother included) as they pour effort and love into refurbishing an ancient and decaying car, which turns out to be magical. A day at the beach becomes a spirited and dangerous adventure at sea, which in turn leads to the discovery of a burglars’ hideout. Heroics ensue.

The story is a tidy tale of a stout-hearted little family, fearless adventurers and ingenuous everyone. The writing style is the extremely comforting narration style found in many of the best classic children’s chapter books. Oddly enough, Fleming’s voice in this book is reminiscent of much in Roald Dahl’s popular titles. Overall, the story is extremely original, full of likeable protagonists, and full of all sorts of danger in turns, with just a hint of the spooky here and there. Anyone looking for an original read aimed at kids will be pleased.

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Further Reading

“In The Night Kitchen” by Maurice Sendak

Norton Juster Says Creating Is Hard

C.S. Lewis On Writing For Children