Brief notes on “literacy” in the 21st century

Partly as a consequence of my natural inclination to sloth, and a partly due to the precarity of certain financial realities in my otherwise cushy life, I’ve had a habit, in this space, of failing to address various criticisms or counter-arguments as they’ve arisen. There was, moreover, a period of time when my absence from blogging was largely due to my preoccupation with creative labours; these labours have since dried up like so many shriveled pricks. The play I’ve been working on for well over two years now (!) is not going well, and hasn’t been for some time.

Since quitting this theatre racket altogether and going off somewhere to build cabinets for a living is not really in the cards for me, handy-man-wise, and since one must, so to speak, use it or lose it, and since I’ve now used two penis-related metaphors in so many paragraphs, I return belatedly to discursive writing to flex the old muscle (damn damn damn…) and address some of the riff-raff (I love you all so very much).

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Review: Jordan Tannahill’s “Theatre of the Unimpressed”

Coach House Books 160 pp.  $14.95 CDN

Coach House Books
160 pp.
$14.95 CDN

 

Too late in Theatre of the Unimpressed does its author offer a defense of his thesis against the charge of hipsterism. By the time it arrives on page 123 of this 149-page essay in a chapter entitled “Beckett’s Children,” we’ve been treated to countless anecdotes of admittedly interesting-sounding performances few of its readers will have had the opportunity (to say nothing of the funds) to see, parties in obscure, Kensington Market bars, and even a few personal tales of sexual adventure. We’ve heard Mr. Tannahill (I’ve met Jordan once, but don’t really know him and doubt he’d recognize or remember me; having staged a show at Videofag, I know his ex-partner, William Ellis, a little better – anyway, I’d prefer in this space to distinguish between “Mr. Tannahill,” the author, and “Jordan,” the very talented and by-all-accounts lovely guy) effuse over the magic of actors who don’t know their lines, and devote several paragraphs to deconstructing what, exactly, makes Driving Miss Daisy a bad play – as if we needed to be told. His chosen title isn’t doing him any favors – “unimpressed” strikes me as definitional synecdoche for the affect of my (and Tannahill’s) generation. I found myself feeling throughout the book that it was not about a theatre of the unimpressed, but rather a theatre for it.

Mr. Tannahill’s protest against the charge is compelling:

I’m not interested in, nor am I articulating, a stylistic trend of the cynical or ironic, which   for me defines the hipster caricature. To the contrary, I find believe the Theatre of Failure is a profoundly optimistic and human proposal, one that reconstitutes failure as a hopeful iconoclasm. (p. 123)

There is a semantic issue to parse here – while “hispterism” as Tannahill chooses to define it does not at all map onto the idea of a “profoundly optimistic and human proposal,” certainly the neo-hipsterism (post-hipsterism?) of McSweeney’s or “New Sincerity” fits the bill. After all, the aesthetic of All Our Happy Days are Stupid had much in common with the light-as-air superficiality of, say, a Wes Anderson movie, complete with the earnest indie-pop songs by an artist too cool for you to have heard of.

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