Happy Monday.

[Photo Credit: Jonathan Ong]

Happy St. Patty’s Day…let’s git stoopid with Spike.

[Photo Credit: I am Baker]

Here’s a must-read. John Lahr on the new production of “Death of a Salesman”: 

Cast to a T, and beautiful in all its scenic dimensions (with Jo Mielziner’s original, 1949 set design), this staging of “Death of a Salesman” is the best I expect to see in my lifetime.

And Ben Brantley writing in the New York Times:

…The tears that brimmed in my eyes in those initial wordless moments receded almost as soon as the first dialogue was spoken. And at the production’s end I found myself identifying, in a way I never had before, with the woman kneeling by a grave who says, “Forgive me, dear. I can’t cry. I don’t know what it is, but I can’t cry.”

Mr. Nichols has created an immaculate monument to a great American play. It is scrupulous in its attention to all the surface details that define time, place and mood. (Ann Roth’s costumes and Brian MacDevitt’s lighting feel utterly of a piece with Mielziner and North’s original contributions.) And as staged and paced it is perhaps the most lucid “Salesman” I’ve ever seen.

…That Mr. Hoffman is one of the finest actors of his generation is beyond dispute. His screen portraits, whether in starring roles (like his Oscar-winning turn in “Capote”) or supporting ones (“The Talented Mr. Ripley,” “Boogie Nights”), are among the most memorable of recent decades. Though he was brilliant in the 2000 revival of Sam Shepard’s “True West,” his stage work has been more variable.

Certainly his performance here is more fully sustained than those in “The Seagull” (for Mr. Nichols) and “Long Day’s Journey Into Night.” But as a complete flesh-and-blood being, this Willy seems to emerge only fitfully. His voice pitched sonorous and low, his face a moonlike mask of unhappiness, he registers in the opening scenes as an abstract (as well as abstracted) Willy, a ghost who roams through his own life. (And yes, at 44, Mr. Hoffman never seems a credible 62.)

Mind you, there are instances of piercing emotional conviction throughout, moments you want to file and rerun in memory. Mr. Hoffman does terminal uncertainty better than practically anyone, and he’s terrific in showing the doubt that crumples Willy just when he’s trying to sell his own brand of all-American optimism. (His memory scenes with his self-made brother, played by John Glover, are superb.) What he doesn’t give us is the illusion of the younger Willy’s certainty, of the belief in false gods.

More Moebius

May he rest in peace.

One of the best parts about visiting my relatives in Belgium when I was a kid was  eating Frites. They were served in a paper cone and were so much better than fries here in the States. These days you can get Belgium-style fried potatoes in New York, like at Pommes Frites in the East Village.

Serious Eats tries all of the dipping sauces.

Hells yeah.

Walk Tall.

[Photo Credit: Summer Goddess-s]

Via the wonderful tumblr site Je Suis Perdu…

check

out

these  cool photographs

by Steve Schapiro.

Check out this fun series over at Eater: Bodega Week.

HBO’s series, “Luck,” has been cancelled.

Here are reports by Jon Weisman in Variety, Andrew Cohen in the Atlantic and Matt Zoeller Seitz in New York magazine.

Brings to mind a story Pat Jordan once wrote called “The Horse Lovers.”

Moebius

Bam Bam

This scene never fails to crack me up. Ham on rye, extra mustard.

This picture makes me happy…and hungry.

[Photo Credit: Through My Blue Eyes]

Moebius does Marvel.

Yeah.

I’ve never had the desire to finish a book that I don’t enjoy. If a book doesn’t grab me in the first 20 or 30 pages, I’ll put it down. No guilt. But I’ve also put down books after a hundred pages, books I enjoy, simply because I’m distracted. It’s me, not the book (and I’ve always been impressed by people who read a book cover-to-cover even when they don’t like it). Last month, I read about half of “Dog Soldiers” by Robert Stone. It is excellent and Stone is a wonderful writer but I found the story so disturbing I just didn’t want to hang around that world anymore.

Anyhow, I found this essay by the novelist Tim Parks over at the New York Review of Books, interesting:

I’m not really interested in how we deal with bad books. It seems obvious that any serious reader will have learned long ago how much time to give a book before choosing to shut it. It’s only the young, still attached to that sense of achievement inculcated by anxious parents, who hang on doggedly when there is no enjoyment. “I’m a teenager,” remarks one sad contributor to a book review website. “I read this whole book [it would be unfair to say which] from first page to last hoping it would be as good as the reviews said. It wasn’t. I enjoy reading and finish nearly all the novels I start and it was my determination never to give up that made me finish this one, but I really wish I hadn’t.” One can only encourage a reader like this to learn not to attach self esteem to the mere finishing of a book, if only because the more bad books you finish, the fewer good ones you’ll have time to start.

But what about those good books? …Do we need to finish them? Is a good book by definition one that we did finish? Or are there occasions when we might choose to leave off a book before the end, or even only half way through, and nevertheless feel that it was good, even excellent, that we were glad we read what we read, but don’t feel the need to finish it? I ask the question because this is happening to me more and more often. Is it age, wisdom, senility? I start a book. I’m enjoying it thoroughly, and then the moment comes when I just know I’ve had enough. It’s not that I’ve stopped enjoying it. I’m not bored, I don’t even think it’s too long. I just have no desire to go on enjoying it. Can I say then that I’ve read it? Can I recommend it to others and speak of it as a fine book?

…To put a novel down before the end, then, is simply to acknowledge that for me its shape, its aesthetic quality, is in the weave of the plot and, with the best novels, in the meshing of the writing style with that weave. Style and plot, overall vision and local detail, fascinate together, in a perfect tangle. Once the structure has been set up and the narrative ball is rolling, the need for an end is just an unfortunate burden, an embarrassment, a deplorable closure of so much possibility. Sometimes I have experienced the fifty pages of suspense that so many writers feel condemned to close with as a stretch of psychological torture, obliging me to think of life as a machine for manufacturing pathos and tragedy, since the only endings we half-way believe in, of course, are the unhappy ones.

I wonder if, when a bard was recounting a myth, after some early Athenian dinner party perhaps, or round some campfire on the Norwegian coast, there didn’t come a point when listeners would vote to decide which ending they wanted to hear, or simply opt for an early bed. And I remember that Alan Ayckbourn has written plays with different endings, in which the cast decides, act by act, which version they will follow.

I also wonder if, in showing a willingness not to pursue even an excellent book to the death, a reader isn’t actually doing the writer a favor, exonerating him or her, from the near impossible task of getting out of the plot gracefully. There is a tyranny about our thrall to endings. I don’t doubt I would have a lower opinion of many of the novels I haven’t finished if I had.

[Photo Credit: Book Mania!]

Honey, check it out you got me mesmerized.

[Photo Credit: Fred Herzog]

Check out this basil pear cake over at Hungry Ghost Food+Travel.

Gritty.

Moebius.

Phillip Seymour Hoffman does Willy Loman. Oh, baby.

Hoffman is a fun actor and is at his best in a meaty role. Doesn’t get much chewier than Willy Loman, does it?