The Western is a genre that was abdicated from mainstream fiction in the 80s, as Science Fiction became the flavor of choice for many. Despite vast differences in how these genres manifest on screen and in print, both deal with themes concerning the inevitable downfall of mans’ quest for power – in its different forms.
The Sisters Brothers by Patrick De Witt is authentically Western and any Eastwood, or Deadwood, enthusiast will immediately appreciate strong genre conventions. There are horses and whores, the landscape is barren, the mystical presence of Native American Indians is feared and there is an unfaltering thirst for gold.
There is a charm to this novel as there is a charm to Levis. They are without expiry. The Sisters Brothers nods to a type of text that seems to have faded in this technological age, but the characters are so brilliantly considered and the writing, balanced and on-point and so correct, that the text is unmistakably modern.
De Witt lacks the pretense of many novelists younger in their careers, who can be as interested in making a name for themselves, as they are about their novel having impact. In The Sisters Brothers, nothing is written that doesn’t need to be. This is a marked change from his first novel Absolutions, which whilst very clever in its narrative structure, lacked the depth and gentle crescendo of The Sisters Brothers. In my opinion.
And because the pace of the book is gentle, there is at times, room to be affected by dialogue. In this novel you are not just reading to get to the next predictable event, mindlessly flicking pages so some chaos can resolve as you imagined it would. De Witt’s imagery will encourage you to pause along the way and consider that, “You are afraid of hell. But that’s all religion is, really. Fear of a place we’d rather not be, and where there’s no such a thing as suicide to steal us away.”
And balanced with this lullaby is a dry humour and a quirkiness and a charm, that you are consistently jollied along, laughing at characters who you will agree are “unusual, but that is perhaps the closest [you] could come to complimenting him.”
Like other Westerns, this story examines who we become when we are driven by extrinsic reward, and as such has obvious and relatable messages.
It makes sense for this type of message to be predominately communicated to us through an analysis of the future. Global warming, the GFC, KFC and self-cleaning public toilets are real examples of stuff, having occurred through the paradox of mans’ obsession to expand and streamline our existence. We are yet to fully learn the extent of our damaging ways and so we predict through Science Fiction. It makes sense.
The Sisters Brothers takes a few steps back, and simply encourages us to be humble, to appreciate the fine things around us, and not to fuck up. It’s an uncomplicated portrayal of what is important in being satisfied, and the damage that can be caused, when you become blinded by greed. For those needing a reminder that it is the 21st Century, there is a twist – a potion, totally impossible, that ties The Sisters Brothers to our relationship with something that can’t exist, but maybe could.
For everyone else it’s a Western and a superb representation of the genre and mastering the elements comprising any compelling story: a rivalry, a journey, enemies, tragedy, a chase, a bit of sex and strong characters with a clear objective.
In a nutshell the story follows two brothers on a hunt for gold. Saying any more will spoil anything you will enjoy reading on your own. It is without a doubt one of the best books I’ve read.
The Sisters Brothers
by Patrick DeWitt
Book Review: Crossfire – A Litany For Survival
Unflinching and authentic, Chin’s work shakes, confronts, and envelops you
LGBTQ poet and spoken-word artist Staceyann Chin is a powerhouse of an artist. (Exhibits A, B, and C: Her mesmerizing Def Poetry Jam performance of If Only Out of Vanity.” Her essay “Paradise of Lies,” published in the New York Times. And her hit play “MotherStruck,” set to soon work its way through the festival circuit as a series. Need we say more?) Unflinching and authentic, Chin’s work shakes, confronts, and envelops you. She is a rare talent that can captivate you in an instant — both by the political gravity of the subjects she so fearlessly and intelligently dissects and her sharp, mesmerizing, and sometimes hysterical turns of phrase. Her “snap-elastic words” can leave anyone who’s ever written for a living marveling (and wishing they had come up with them first).
This same fire is seen throughout Crossfire: A Litany for Survival, Chin’s first full-length collection of poems. Weaving adeptly between verses about the intersection of love, sex, race, gender, feminism, trauma, sexuality, queerness, motherhood, oppression, and so much more, Crossfire is a foot-on-the-gas-pedal kind of eye-opening, from start to finish.
In “Tsunami Rising,” she writes of the “weeping white women” who stood behind Tarana Burke’s #MeToo movement only once a rich white actress co-opted it — a heartbreaking address dripping with explanation and patience we don’t deserve, and a tired, frustrated anger that we do.
“We are unable to process our pain with you,” she writes, “Because we are exhausted from centuries/of holding you and your children.”
In “Zuri-Siale Samanaya” — named for her daughter, with whom she often records “Living Room Protests” — Chin reflects beautifully on raising a child who is both following in her activist footsteps but coming into her own as an individual:
I can hardly wait
to hear your voice
I expect us to rumble
to create generational bruises that will have to be survived
In “Raise the Roof,” Chin’s worries that this power will not be enough to carry her daughter safely through a world intent on silencing the voices of Black women are heartbreaking.
Every day I have to drown my fears
for my child/born Black and a girl in a country
in which her safety does not matter
to anyone with power
Among the book’s other standout gems are a reflection on 9/11 titled “September in New York” and a hilarious and incisive retort to the misogynist who harassed her on Twitter (aptly titled “Tweet This Motherfucker”). But really, there is no plateau in Chin’s collection of poems. Each page of Crossfire: A Litany For Survival is fire, soul, and just damn good writing.
When artists like Chin bare their souls to put the revolution to paper, it’s up to us to truly listen.
by Staceyann Chin
Crossfire: A Litany For Survival will be published as a paperback original on October 1, 2019 by Haymarket Books.
Book Review: The Disaster Artist – My Life Inside the Room, the Greatest Bad Movie Ever Made
I cannot recommend The Disaster Artist highly enough. It might be one of the best reads I’ve had in a very long time.
In 2003, the world of filmmaking was shaken to its very foundations. Bursting onto the scene and blinding the city of Los Angeles and Hollywood like a renegade supernova, was a film that went by the insipid title of The Room.
The Disaster Artist: My Life Inside the Room, the Greatest Bad Movie Ever Made is a book all about the making of that film. For those who haven’t seen The Room, the basic synopsis boils down to a ‘love triangle’ plot, between a banker, Johnny, his fiancée, Lisa, and the best friend, Mark. There’s romance, betrayal, drama and finally tragedy. Seems simple enough, right? Wrong.
The final instalment of The Lord of the Rings trilogy might’ve won all eleven Academy Awards that year, but it was The Room that still managed to be the talk of the town (and eventually, the world) amongst many filmgoers.
Don’t be mistaken, The Room wasn’t a sleeper hit or master class in filmmaking. In fact, it was the complete opposite. A train wreck so disastrous that it’s still being watched, studied and talked about, to this day. “So bad it’s good” and “The Citizen Kane of bad films” are quotes often thrown around whenever The Room is muttered.
What makes The Room so bad? Well, to put it bluntly, everything. From the acting to the directing, to the sets and continuity, is a consistency of abysmal filmmaking. Yet despite its terribleness, there remains a kind of loveable charm. Most of this charm seems to stem from the man who helmed the project, the weirdly fascinating and enigmatic, Tommy Wiseau. Wiseau was responsible for acting as the lead character, Johnny, writing, directing and producing The Room (Orson Welles, eat your heart out).
Greg Sestero and Tom Bissell’s book, The Disaster Artist, doesn’t start at the premier of The Room in Los Angeles, 2003. It starts instead a year earlier, with a lunch between Greg and Tommy, a lunch so bizarre and off-the-wall, that it almost reads like sketch comedy. It’s a day before official production is about to begin on The Room, and Tommy with genius-gusto, decides to offer Greg one of the lead roles in his film, as Mark, Johnny’s (Tommy’s character and fictionalized version of himself) best friend. A plan so flawless, until Greg reminds Tommy that the role is already cast.
In the next chapter, we are taken back to 1998 in San Francisco with Jean Shelton and her acting class, where Greg relates his early origins into acting and his dreams of “making it”. It’s here that he meets the one-and-only, Tommy Wiseau, for the very first time. They’d later on become acquainted with one-another, after Tommy steals the show by giving one of the most ludicrous renditions of the famous ‘Stella’ scene from A Streetcar Named Desire ever witnessed.
“Most bad performances are met with silence. This was something else. There were murmurs. There were giggles. Everyone in that basement studio knew they had just witnessed one of the most beautifully, chaotically wrong performances they would ever see.”
– The Disaster Artist
What follows throughout the book is parallel storytelling, or intersecting storylines. One side focusing on the making of The Room, and the haphazard tyrannical way in which Tommy went about acting, directing and interacting with the cast and crew. The other, on the growing friendship and relationship between a young, Greg Sestero and not-so-young, Tommy Wiseau, both bonding on their dream and love for acting (and in particular, James Dean). Each storyline is as equally entertaining, funny and at times touching as one another.
The Disaster Artist is a book that doesn’t quite feel like it’s written from someone with journalistic prose looking-in on The Room, or the life of Tommy Wiseau. Instead, it’s a book written by someone who lived and breathed these experiences and moments. The final result is a raw and believable account, with a striking amount of humility and sincerity. The praise in this regard goes solely to Greg Sestero; he is quite possibly the best—and only—person capable of telling this story. His perspective is paramount to understanding the making of The Room, and Wiseau.
In terms of the content itself, there are many reasons why fans—or even those unfamiliar with The Room—might want to pick this up. For years, people have been baffled about almost every aspect of this film and the mysterious man behind it. From, “How did Tommy manage to get $6 million to fund this film?” to something as simple as “Just where in the hell is Tommy actually from?”
You don’t have to be familiar with the film itself, or even know a great deal about the players such as Tommy Wiseau to find this book enjoyable. After all, driving the engines is a timeless story, full of great characters and great moments.
I cannot recommend this book highly enough. It might be one of the best reads I’ve had in a very long time.
The Disaster Artist
by Greg Sestero & Tom Bissell
(Simon & Schuster)