Yes, that would be Willem Dafoe reading the Etgar Keret story “Mystique.”

Mystique

The man who knew what I was about to say sat next to me on the plane, a stupid smile plastered across his face. That’s what was so nerve-racking about him, the fact that he wasn’t smart or even sensitive, and yet he knew the lines and managed to say them—all the lines I meant to say—three seconds before me. “D’you sell Guerlain Mystique?” he asked the flight attendant a minute before I could, and she gave him an orthodontic smile and said there was just one last bottle left. “My wife’s crazy about that perfume. It’s like an addiction with her. If I come back from a trip and don’t pick up a bottle of Mystique from duty-free, she tells me I don’t love her anymore. If I dare walk in the door without at least one bottle, I’m in trouble.” That was supposed to be my line, but the man who knew what I was about to say stole it from me. He didn’t miss a beat. As soon as the wheels touched down, he switched on his cell phone, a second before I did, and called his wife. “I just landed,” he told her. “I’m sorry. I know it was supposed to be yesterday. They canceled the flight. You don’t believe me? Check it out yourself. Call Eric. I know you don’t. I can give you his number right now.” I also have a travel agent called Eric. He’d lie for me too.

When the plane reached the gate he was still on the phone, giving all the answers I would have given. Without a trace of emotion, like a parrot in a world where time flows backwards, repeating whatever’s about to be said instead of what’s been said already. His answers were the best possible, under the circumstances. His circumstances weren’t so hot, not so hot at all. Mine weren’t all that great either. My wife hadn’t taken my call yet, but just listening to the man who knew what I was about to say made me want to hang up. Just listening to him I could tell that the hole I was in was so deep that if I ever managed to dig myself out, it would be to a different reality. She’d never forgive me, she’d never trust me. Ever. From now on, every trip would be hell on earth, and the time in between would be even worse. He went on and on and on, delivering all those sentences that I’d thought up and hadn’t said yet. They just kept fl owing out of him. Now he stepped it up, raising his voice, like a drowning man desperate to stay afloat. People started fi ling out of the plane. He got up, still talking, scooped up his laptop in his other hand, and headed for the exit. I could see him leaving it behind, the bag he’d stashed in the overhead compartment. I could see him forgetting it, and I didn’t say anything. I just stayed put. Gradually, the plane emptied, till the only ones left were an overweight religious woman with a million children, and me. I got up and opened the overhead compartment, like it was the most natural thing in the world to do. I took out the duty-free bag, like it had always been mine. Inside were the receipt and the bottle of Guerlain Mystique. My wife’s crazy about that perfume. It’s like an addiction with her. If I come back from a trip and don’t pick up a bottle of Mystique from duty-free, she tells me I don’t love her anymore. If I dare walk in the door without at least one bottle, I’m in trouble.

The kind of bad taste I portrayed never achieved wide success, except for “Hairspray,” and that happened unexpectedly. What America now exports in culture is also bad taste, but a bad taste that tries too hard to shock. I never tried to top the graphic end of “Pink Flamingos.” If I had, I wouldn’t be here today. The only way you change anything is to use bad taste to get somebody to accept something they didn’t before. I think higher of my audience. That’s why my films don’t make money.
John Waters, in an interview with the Wall Street Journal

Laura Miller on the Global Blockbuster Known as “The Hunger Games”

The actress Kristen Bell (star of the cult-TV series “Veronica Mars”) recently told the Huffington Post that “The Hunger Games” is “all I think about.” Bell threw an elaborate Hunger Games-themed party for her 30th birthday: “All my friends dressed as the characters and I dressed as Katniss [Everdeen, the books’ heroine].”

As of this writing, the first book in the Hunger Games series has been parked on the USA Today bestseller list for 132 weeks; the second, “Catching Fire,” for 131. There are more than 24 million copies of all three books in print. Unlike the Harry Potter series, which was aimed (originally) at middle-grade readers, this is a young-adult epic with a particularly dark premise: In a future version of America called Panem, 12 districts subjugated by a central authority must each send a pair of their children to compete in a gladiatorial contest from which only one will emerge alive. In marked contrast to the swoony vampire romance of the Twilight series, the many harrowing action sequences in “The Hunger Games” make the books equally appealing to boys and girls.

It’s indicative of the balkanization of the reading world that if you don’t have teenage children, you may not have heard of “The Hunger Games” until quite recently, despite the fact that for several years the book’s success has rivaled that of “The Help” and “The Girl With the Dragon Tattoo.” Although both Harry Potter and Twilight have demonstrated that there’s a sizable adult readership for some children’s books, the genre is still (mostly) reviewed in separate publications, shelved in its own section of the library and often sold in separate stores. In fact, children’s book publishing operates quite differently from its adult counterpart. And in many respects, that’s a good thing.

(Read the rest here.)

Laura Miller captures the publishing world quite well.

Brian McGreevy’s novel “Hemlock Grove” is coming to Netflix

GQ interviewed McGreevy on what it’s like to adapt his monsters-in-Pennsylvania story for a 13-episode series on Netflix:

GQ: What inspired you to sit down and write this book?

McGreevy: A deeply, deeply abnormal brain. I reached a point in my relationship with my own work—I was in graduate school for an M.F.A. at the time—when I realized I wasn’t very good at realism. And so I wanted to do something that had a level of imagination I found more compelling, but still anchor it in a world that was as familiar to me as possible. And so I thought, all right, I’m just gonna take a shitload of monsters and stick ‘em in my high school.

Geoff Dyer Explains Why He Hates the Coen Brothers

John Jeremiah Sullivan, author of Pulphead, and Geoff Dyer, author of Zona, recently met for a discussion at 192 Books in New York City. Among the topics covered: Burning Man, Axl Rose, writerly influence, and why Geoff Dyer hates the Coen brothers.

Sullivan: Can I ask you about a remark you made in the book about the Coen brothers? Which did not seem flip—you accuse yourself of being flip with the Wizard of Oz thing, but you describe their films as “witless.” I’ve heard a lot of Americans criticize the Coen brothers, but it’s usually the opposite criticism that’s made—that they’re too clever by half, that it’s all wit and no heart. And so I just was hoping you could expand on that.

Dyer: Oh, with great pleasure! [Laughter]

There was an occasion when The Threepenny Review was hosting this symposium on Almodóvar, and I was really pleased to contribute to that because I really hate his films, but then I duly wrote something and they didn’t publish it because they thought it was too abusive. And I’ve been waiting for a symposium where I can really pitch into the Coen brothers, and it’s really quite simple, I think.

Here is the fact of the matter: I have a G.S.o.H. I really do have a Great Sense of Humor. We’re not going to debate it—just accept it. [Laughter] And when I’m in a Coen brothers film, in a cinema, I’m surrounded by all of these people laughing their heads off, and I’m sitting there stone-faced. And the reason I’m not laughing and they are is because I have a sense of humor and they don’t. What one realizes is that even people without a sense of humor want to have a laugh. Because it’s fun to laugh, of course. I always come back to this one bit. You know how sometimes you can see someone make a gesture in a novel, and it’s some kind of insight into their soul? It’s that sequence in Fargo, that bit where the guy says, “I need unguent.” Do you remember that bit? That is humor for people with no sense of humor. And after that I just despised them with every fiber of my being. And I even thought that the stoner film, what’s that one called? [An audience member suggests The Big Lebowski] Yes, even that is—well, I can see that we all love Jeff Bridges and all this kind of stuff—but that became tiresome so quickly. Then just the pointlessness of many of the films. I’m a huge fan of Cormac McCarthy. I think Cormac McCarthy is a great genius, but I thought that book No Country for Old Men was basically a kid’s book, really, because it had such childish attitudes toward violence. So, weirdly, that seemed to me to be a successful film, in a way. It seems to me that they are childish filmmakers. And then the remake of True Grit. It just seemed entirely pointless to me.

Sullivan: What about Raising Arizona, though?

Dyer: Oh, that is just unspeakably… [Laughter]

Sullivan: Satisfyingly shocking, is what you’re saying?  But he’s talking about the pajamas. When the cops are asking the father who has had his child kidnapped, and they’re asking him to describe the pajamas and he says, “I don’t know, they had Yodas and shit on them. They were pajamas.” Come on, that’s witty.

Dyer: I don’t know, it might be. I can’t remember Raising Arizona at all, this is the problem. All I can remember is the vehemence of my own aversion to it.

Sullivan: That’s what makes us essayists. Your reaction dwarfs the reality, and so we write about the reactions.

(Read the rest)

wnyc

There should be a tumblr of Books Annotated by Famous People.

theatlantic:

the-overlook-hotel:

Stanley Kubrick’s personal copy of Stephen King’s novel, The Shining. This well-worn book, now housed in the Stanley Kubrick Archive in London, is filled with Kubrick’s notes and comments. Many passages are highlighted, and Kubrick has filled the margins with hand-written notes that run the gamut from notating passages that inspire him, to crossing out sections he found silly.

(click images to enlarge)

Today, in found objects.