Brett Morgen Directs Chicago Ten and Flat Rock, Alabama
New mayor Johnny Traffanstedt had a cameo appearance near the end; and George Wallace Road man who had recently retired into the area, Jaime Etheredge, were also featured.
Morgen's critically acclaimed Chicago Ten was released on DVD Tuesday and got a new round of reviews. Looking for it I discovered this August 13 story in NY Times about his latest work, a commercial documentary on Truckers.
I had the distinct pleasure to go up to Flat Rock back in June to talk to Brett for thirty minutes or so. May see what he is thinking about the Bill of Rights and Freedom of Assembly as this election progresses, but that is kind of an afterthought at the moment. May also pursue a discussion with him about a recent cover of Newsweek magazine, but maybe I talk too much.
Here is the link:
http://www.nytimes.com/2008/08/13/business/media/13adco.html
Congrats to Morgen on all fronts and his evolving pursuits.
On another front, the great word outwit, which in a memorable incident couple years ago gave me fits trying to assist in the navigation of a crossword puzzle, is delightfully used on the last page of the great critic James Wood and his recent How Fiction Works.
Wood in addition to sublime analysis of Marilynne Robinson's Gilead--I have the Pulitzer's autograph--has insightful look at David of the Old Testament, as an original character who introduces consciousness into literature. Paradoxically, the agnostic Wood says David was a creation of God.
2 Comments:
Another review of Wood and his spiritual adoration of the novel.
Maybe my interpretation of Wood's take on God requires further reflection:
"Leaping ahead from the Bible to Shakespeare to Dostoevsky, Wood renders the sacred narrative obsolete (and comes close to doing the same for Shakespeare). David in the Old Testament addresses God, just as Macbeth entreatingly addresses the theatrical audience. But in Crime and Punishment, Raskolnikov's soliloquies are conversations with the reader, who can penetrate thoughts that remain unvoiced.
The novel is the product of Hegel's 'secularised spirituality' and must, as Wood concedes, 'be understood religiously'. Its characters want to be known, which means to be forgiven; in God's absence, the reader's conscience has to scrutinise their confessions and arrive at a proper judgment."
In any case, Wood's words on David and Absalom gave me spiritual solace; and that in the end, may be the paradox.
Quite intriguing, indeed :).
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