Showing posts with label Miscellany. Show all posts
Showing posts with label Miscellany. Show all posts

Sunday, November 6, 2011

Out of Joint


My alarm clock squawks at me at 6:38 AM, a particular minute selected to leave me just enough time to get dressed, eat, and brush my teeth and be out the door to catch the three-minutes'-walk-away Metro to work at 7:05.

I dress and I eat and I brush and I'm gone. And I get to the Metro, and the escalators aren't working. And the metal gating is shut across the entrance at the bottom. It's unusual, I reason, but perhaps they don't open until just before the first train arrives. (At 7 AM on a Sunday, this kind of thinking makes sense.)

Looking past the escalators, I spy a guy waiting by the elevator. There's a little red light visible below the call button, indicating he's trying to get in touch with WMATA folk because there's a problem. Before long he gives up and walks off. Just after he leaves I hear some noise emanating from the call wall. I go over in the hopes of carrying the departed man's torch and finding out what's going on, but communication ceases just as I arrive.

I drift back to the escalator, wondering when they're going to open and if I'm going to need to catch the bus, and then the same crackle of static and unintelligible sound bursts from the call wall. Again I saunter over, and again I'm too late.

Now I'm getting concerned. I'm going to miss the train, it's almost (and I pull out my phone to see what time it is)--

6:03.

And there's a moment of confusion, of displacement. whatwhatwhaaaaaat? And then, realization:

"Awwwwwwwwww!"

The idea that time could be changed by fiat has always seemed a little weird to me, but in reality it is both sensible--the 24 hour day is an invention of man, not a fact of nature, and as such is open to revision--and regular, as is collective ambivalence toward it. The New Republic thought President Bush and Congress's lame attempt to lower the nation's energy use by adjusting the duration of Daylight Savings Time and "changing time itself" was "unsettling and creepily disproportionate," and DST itself has come under close scrutiny since its inception.

Time and history itself have been subject to edicts of rulers and religions since, well, forever. Setting aside the multiplicity of calendars that exist across cultures (including the Mayans' whose ostensible end next year will doom us all), the passage and record of time has changed frequently within Western society. Pope Gregory VIII instituted a new calendar in 1582, but because England had by then become Protestant and contrary to papal edict, it continued using the Julian calendar until 1752, and lost 11 days in the process, going from September 2 to 14 in a moment, and moved the beginning of the year from March to January. The revolutionary government of France established a new chronology entirely, starting over with Year Zero, and instituting a new calendar of its own. Compared to these measures, Daylight Savings is mere technocratic tinkering.

Yet it's enough to offset; my feeling of displacement never quite leaves. I arrive at work earlier than usual, 7:30ish, but nobody else is there, and the kitchen is locked. It's not until just after 8 that I can get in and get started, and so everything gets off now to a late start. The morning flies, and after a brief lunch spasm of food traffic business trickles. I'm lucky to find some corn beef that needs slicing to keep me occupied for 45 minutes, after which I'm told to leave, around 3:30.

After picking up a book at the library I head across town and settle in to a cafe with the book and a $3.30 mocha to pass the time before the shift at my other job. As five o' clock nears, I start feeling increasingly anxious.

Don't I have somewhere to be? I check the time, and it's only five, I still have another hour before my shift starts. But if the regular flow of time had been maintained, if Daylight Savings hadn't set us all back, I would be starting the shift now. It's incredibly disorienting, like time travel with a dash of deja vu.

The sense of existing outside of time isn't novel--it's the reason for jet lag (travel by jet, of course, being a sign of man's mastery of nature that by crossing vast distances so quick he has managed to shrink time). But air travel is disruptive to one's routine, unless, of course, one is a pilot or stewardess. Daylight Savings upsets the hours of the day but leaves one's patterns of activity untouched. The surprise in being caught unawares after the changeover is what makes it different from voluntarily getting up earlier. The disconnect in the expectation and the actual result--of having, by realization, an extra hour that just before did not exist in one's mind--makes one acutely aware one's chronological position, as if flowing down the river of time one had gotten stuck against some branches or rocks and suddenly could stop and take stock of one's surroundings.

Not that in such a state one's sensitivity necessarily translates into accuracy. Before my shift started I was chatting with a co-worker. I checked the time, 5:45, and then continued talking. Eventually she asked what time it was, we would have to get going soon.

"5:51, I'll bet you," I said. If I've checked recently I'm usually pretty spot-on in my guestimation of how many minutes have elapsed. And yet, it was in reality only 5:47.

Thursday, May 19, 2011

Life From Inside

One of James Fallows's readers provides an Orwell quote that dovetails nicely with Follies's downtrodden spirit (emphasis mine):

An autobiography is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats.

Tuesday, April 5, 2011

Carter Burwell Mix

My brain has been scrambled throughout this long day, so how about some music selections to change things up? I've just downloaded (for $5.99!) Carter Burwell's score for True Grit, and I feel like putting up some my favorite pieces to come out of his many contributions to the Coen Brothers' films.





The themes for Miller's Crossing and Fargo are endlessly listenable, and yet such odd pieces: quite stirring--lyrical?--and moving, they sound like they'd go well in the trailer for an uplifting Oscar-bait film, when the actual movies they belong to are decidedly off-beat and quite dark and nasty. There's undercurrents of that darkness in both pieces, which creates a juxtaposition that makes them so interesting.



"Wie Glauben" is one of the few originals contributed to the soundtrack for The Big Lebowski. It serves as the music for the German Nihilists when they've torched The Dude's car, and it is "by" them as well, belonging as they do to a Kraftwerk-styled electronica group, Autobahn and blasting the piece from their boombox in the parking lot. I know it's kind of a parody of such music, but I find it strangely compelling all the same.



The opening theme for Burn After Reading is even goofier, for, like the film it serves, it's making a lot of noise for what really is nothing at all. Music that is in itself funny--not a funny song with funny lyrics, but where the music itself elicits laughter--is hard to find, and maybe without the movie to provide context the humor of this is lost. But in any case, its over-the-top 'action-y' quality makes me smile.



The score for True Grit is based off a number of 19th century Protestant hymnals, and for this reason the Academy disqualified it from being nominated for an Oscar. Their loss. It's lovely work, and the religious inspiration meshes well with the film's redemption of Rooster Cogburn. "Little Blackie" is short and simple, a good example from a terrific score.

Sunday, March 6, 2011

Ill Humor

I've a piece on C.S. Lewis' The Screwtape Letters that I should have up soon. It's a fascinating book, if fundamentally mistaken in its theology. Before tackling that, I would like to bring attention to one of its most astute oservations, concerning sarcasm. It's not referred to as such, but the definition is unmistakable:

But flippancy is the best of all. In the first place it is very economical. Only a clever human can make a real Joke about virtue, or indeed about anything else; any of them can be trained to talk as if virtue were funny. Among flippant people the joke is always assumed to have been made. No one actually makes it; but every serious subject is discussed in a manner which implies that they have already found a ridiculous side to it. If prolonged, the habit of Flippancy builds up around a man the finest armour-plating against the Enemy [God] that I know, and it is quite free from the dangers inherent in the other sources of laughter. It is a thousand miles away from joy: it deadens, instead of sharpening, the intellect; and it excites no affection between those who practise it.


Perhaps the most annoying and pernicious quality of sarcasm/flippancy is how disingenuous it is. Discussion operates on the assumed good faith of both parties, that they mean what they say and their words can be taken at face value. When someone employs sarcasm for any great length of time it calls into question what it is he is actually trying to say. It's obvious what he isn't saying, but a single negative can imply any number of positives. This conveniently allows the sarcastic to disavow responsibility for his words, an act Rush Limbaugh, say, is well-practised in.

Rush is a useful example since his shtick--and by and large the conservative movement that's made him a millionaire--is based on spite of liberals more than any sort of positive value system, making his brand of humor distinctly mirthless.

One not even enter the realm of politics to find further examples. I am sure all know or have known someone of a profoundly negative and critical temperament. This drudge, when not griping outright about some minor infraction, speaks with knowingly inflated inflection, as if everything he speaks of is a bad joke. To him, it is.

Saturday, September 4, 2010

Deep Thought

Dan Brown may be the rare author whose writing's meaning is actually found in translation.

Sunday, July 18, 2010

Mock Their Stylin'

This website claims to analyze your writing style based on whatever samples you provide. Eric Martin of Obsidian Wings, for instance, seems to have absorbed David Foster Wallace's technique without having ever read him. I plugged in some of the most recent posts of this blog, and the results were thus:

- Where the Wild Things Are review: Stephen King
- Notes From Underground Analysis: Leo Tolstoy
- Shutter Island review: Chuck Palahniuk
- Wisdom teeth removal: Charles Dickens
- Finding Nemo review: David Foster Wallace

Based on these results it seems the algorithm is based more on name associations than style. Tolstoy was, of course, a contemporary of Dostoyevsky, and Fight Club and Tyler Durden are explicitly mentioned in the Shutter Island review. This, and the fact that the list of authors includes almost exclusively white males brings its worth down from mere timewaster to waste of timewaster. Lame.

UPDATE: Worse than waste of waste of time, the website is actually something of a scam for a vanity publisher.