Found in the $1.00 cutout bin at a record store in Jersey.
[Photo Via: Wikipedia]
Saturday
December 20, 2025
Since 2002
Category: Arts and Culture
Papa Large
Nice job by the New Yorker allowing us to dig Lillian Ross’ famous 1950 profile of Hemingway (and thanks to Longform for linking it on their site):
After getting his necktie off, and then his jacket, Hemingway handed them to his wife, who went into the bedroom, saying she was going to unpack. He unbuttoned his collar and went over to the telephone. “Got to call the Kraut,” he said. He telephoned the Plaza and asked for Miss Dietrich. She was out, and he left word for her to come over for supper. Then he called room service and ordered caviar and a couple of bottles of Perrier-Jouët, brut.
Hemingway went back to the bookcase and stood there stiffly, as though he could not decide what to do with himself. He looked at the pasteboard backs again and said, “Phony, just like the town.” I said that there was a tremendous amount of talk about him these days in literary circles—that the critics seemed to be talking and writing definitively not only about the work he had done but about the work he was going to do. He said that of all the people he did not wish to see in New York, the people he wished least to see were the critics. “They are like those people who go to ball games and can’t tell the players without a score card,” he said. “I am not worried about what anybody I do not like might do. What the hell! If they can do you harm, let them do it. It is like being a third baseman and protesting because they hit line drives to you. Line drives are regrettable, but to be expected.” The closest competitors of the critics among those he wished least to see, he said, were certain writers who wrote books about the war when they had not seen anything of war at first hand. “They are just like an outfielder who will drop a fly on you when you have pitched to have the batter hit a high fly to that outfielder, or when they’re pitching they try to strike everybody out.” When he pitched, he said, he never struck out anybody, except under extreme necessity. “I knew I had only so many fast balls in that arm,” he said. “Would make them pop to short instead, or fly out, or hit it on the ground, bouncing.”
Taster’s Cherce
Not the season yet, I know, but dag, this picture just got me going.
The Art of Storytelling
I’m sure there are great lyricists out there today, but when you look at mainstream hip-hop, lyricism is gone. There are some artists out there that think they’re great storytellers, but they’re not. Nowadays there are certain things I don’t hear anymore from rappers: I haven’t heard the word “MC” in so long; I haven’t heard the word “lyrical.” A lot of rappers think they’re hardcore or say they’re from the streets and there’s that thing where they always say, “I live what I rhyme about, I rhyme about what I live.” But you don’t always have to do that. Because for me it’s not about telling the story — it’s about weaving the tale.
[Photo Credit: Frank Hoensch/Getty Images
Afternoon Art
Lou by Erin Wong.
Blume in Love
I didn’t read Judy Blume when I was growing up but my twin sister sure did. I have a clear memory of her worn paperback covers for Are You There God? It’s Me, Margaret, Tales of a Fourth Grade Nothing, and Blubber.
Susan Dominus recently profiled Blume for The New York Times Magazine.
I like this passage:
“I’m a storyteller — you know what I mean — an inventor of people,” Blume said. “And their relationships. It’s not that I love the words — that’s not the kind of writer I am. So I’m not” — she made a furious scribbling motion with her right hand — “I’m not a great writer. But maybe I’m a really good storyteller.”
All writers are not created equal.
"This ain't football. We do this every day."
--Earl Weaver
--Earl Weaver