Rhys Tranter is a writer based in Cardiff, Wales, UK. He is the author of Beckett's Late Stage (2018), and his work has appeared in the Times Literary Supplement, The Spectator, and a number of books and periodicals. He holds a BA, MA, and a PhD in English Literature. His website RhysTranter.com is a personal journal offering commentary and analysis across literature, film, music, and the arts.
“The most important thing in life is not happiness but meaning.”
— John M. Hull, Notes on Blindness
Set in the summer of 1983, Notes on Blindness is a beautiful 2016 documentary that explores the life of writer and theologian John M. Hull.
Based on his memoir, Touching the Rock, the film offers a deeply personal account of an academic who permanently loses his vision while anticipating the birth of his son.
Filmmakers Peter Middleton and James Spinney draw from audio cassettes recorded by Hull at the time, which attempt to explain and understand the experience of blindness through vivid philosophical reflections on everyday events and experiences. (more…)
Reading Jon Krakauer‘s Into the Wild. A compelling account of the tragic story of Chris McCandless and his idealistic trek into the Alaskan wilderness. At the same time, the book offers a cultural history of the fascination wild spaces hold in the modern imagination.
This week, it was my great privilege to visit the John Muir National Historic Site in Martinez, California. The beautiful Muir family home was restored from dereliction by the National Park Service, and pays tribute to the father of modern environmental conservation.
A collection that reveals a lifelong emotional engagement with the possibilities of art
How does one introduce a book of introductions by an author who needs no introduction? This month heralds the paperback release of Michael Chabon’s Bookends, an enjoyable collection of his introductions (as well as outros and liner notes) to an eclectic range of texts. Combining literary and cultural critique with revealing autobiographical reflection, Chabon shares his enthusiasm for everything from literature and popular fiction to comic books, Norse myth, movies, food, music, and baseball. He glories in the rhythms of Mark Ronson’s Uptown Special, debunking a few myths along the way, and takes time to recommend West Oakland’s soul food restaurant, Brown Sugar Kitchen. There are also personal observations about his own fiction, including a short extract from his unpublished work, Fountain City. The collection even has its own (meta) introduction. Fans of the Pulitzer Prize-winning author will seize on this book to better understand the texts and experiences that shaped Chabon as an artist. More broadly, Bookends is a wander along the lost avenues and borderlands of the twentieth-century popular imagination.
Whether discussing the cultural significance of Superman’s cape, or the pastel, symmetrical frames of Wes Anderson, the pieces that form Bookends return time and again to the role that art plays in shaping who we are. Chabon remembers picking up paperbacks of The Great Gatsby and Philip Roth’s Goodbye, Columbus before embarking on his first novel, The Mysteries of Pittsburgh. He talks about his immersion into the magical-realist settings of Greek and Norse myth as a third grader. He discusses the way Ray Bradbury’s ‘The Rocket Man’ changed his life forever when he was just ten-years-old: “I had never noticed, somehow, that stories were made not of ideas or exciting twists of plot but of language. And not merely of pretty words and neat turns of phrase, but of systems of imagery, strategies of metaphor.” Bookends celebrates the skill of artists and writers to conjure imaginary worlds, navigating the fantasy landscapes of Michael Moorcock and getting lost in the graphic dystopian cities of Howard Chaykin. Chabon has a critic’s awareness of poststructuralist and postmodern approaches to art and representation, with nods here and there to writers like Susan Sontag, Roland Barthes, and Walter Benjamin. But, ultimately, the success of Bookends lies in the way it demonstrates a lifelong emotional engagement with the possibilities of art, and the texts that speak to us at important moments in our lives. It traces the strange spark that arises at “the intersection of a wish and the tip of a pencil.”
This extract is from my review of Michael Chabon’s Bookends: Collected Intros and Outros, published in the San Francisco Chronicle, 23 January 2019.
Tamar Jeffers McDonald discusses one of the most beloved romantic comedies ever made
Why led you to write about When Harry Met Sally…?
It was a film I’d liked but not studied, but the BFI asked me to write the Classic on it to tie in to the LOVE season it had in 2015. I really came to appreciate the film once I sat down to analyse it.
How would you describe When Harry Met Sally… to someone who has never seen it?
Hmm! I would say that, narratively, this is a comedy about a woman and a man who meet at various times in their lives, and eventually get to the right point to be friends. For a while their individual neuroses balance each other out but then their increasing intimacy starts to cause more problems… From the point of view of form, I’d say it was one of the most cleverly and elegantly structured films I’ve seen. (more…)