May 23, 2018 Comments Off on New Blog: Open Seas
Since September 2017, Matthew Asprey Gear has been writing essays on literature, cinema, and travel at a new blog called OPEN SEAS.
June 12, 2018 Comments Off on Appearance: John Updike Society in Belgrade
John Updike was one of the most wide-ranging and conscientious book reviewers in the history of American publishing. For half a century he operated as a “psychotic Santa of volubility” (in the words of Martin Amis), producing hundreds of reviews and occasional essays for the New Yorker and other publications.
Updike assembled compendiums of this non-fictional prose at regular intervals throughout his career: Assorted Prose (1965), Picked-Up Pieces (1975), Hugging the Shore (1983), Odd Jobs (1991), More Matter (1999), and Due Considerations (2007). Despite the seeming modesty of their titles, and the mock-apologetic tone of their prefaces, these collections are enormously ambitious and comprehensive.
This paper critically examines Updike’s methods of collating his non-fictional prose, the efforts of a meticulous self-anthologist building a uniform oeuvre. It will discuss critical responses to Updike’s collections, as well as contrasting publication practices by contemporary essayists including Anthony Burgess and Gore Vidal.
May 23, 2018 Comments Off on Recent Publications & Appearances
EVAN HUNTER’S JUNGLE KIDS and AN INTERVIEW WITH FLOYD SALAS
Two contributions to a beautifully illustrated book edited by Andrew Nette & Iain McIntyre called Girl Gangs, Biker Boys, and Real Cool Cats: Pulp Fiction and Youth Culture, 1950 to 1980 (Oakland: PM Press, 2017).
The first is a long essay on Evan Hunter’s contributions to the juvenile deliquency genre including The Blackboard Jungle (1954), A Matter of Conviction (1959) and The Jungle Kids (1956).
The other is an interview with the fascinating and under-appreciated American writer Floyd Salas, conducted in collaboration with Andrew Nette: ‘Whoever Was In Control Was The One To Watch‘.
ORSON WELLES’S THE TRIAL
A study of Orson Welles’s screen adaptation of The Trial in Jim Craddock (ed.), Books to Film: Cinematic Adaptations of Literary Works, Volume 1 (Boston: Gale Cengage Learning, 2017).
ANTHONY BURGESS AND ORSON WELLES: HACKWORK AND BRICOLAGE
A paper presented at the Anthony Burgess: Life, Work, Reputation conference at the International Anthony Burgess Foundation, Manchester (3-5 July 2017).
ADRIAN MARTIN looks at CONTRAPPASSO: WRITERS AT THE MOVIES
Adrian Martin’s article ‘What is Literary Cinephilia?’, which discusses the special ‘Writers at the Movies’ issue of Contrappasso Magazine (2015) edited by Noel King and Matthew Asprey Gear, appeared in the May 2017 issue of Sight and Sound, pp. 56-57.
July 28, 2017 Comments Off on At the End of the Street in the Shadow: Review by the Times Literary Supplement
Sarah Jilani’s review of At the End of the Street in the Shadow: Orson Welles and the City appeared in the March 10, 2017 issue of the Times Literary Supplement. She writes that the book “offers enjoyable revelations for anyone familiar with Welles’s work.”
Read more HERE
July 28, 2017 Comments Off on At the End of the Street in the Shadow: Review by Film International
Tony William’s long review of At the End of the Street in the Shadow: Orson Welles and the City, appeared in Film International (vol. 14, no. 2).
Amazingly, the author has not only brought a new positive slant to those frequent academic cityscape studies that now flood the critical landscape, but has also added some relevant aesthetic, cultural and political innovations to the field of Welles studies that distinguish this treatment in its own right as well as provoke insightful readings of neglected films, such as The Trial (1962)…. Far more modest in scope in comparison to recent mega-page studies of Welles, it nevertheless supplies some very important innovations to understanding the director’s work that will make it yet another additional ‘essential reading’ in the critical canon….the book provides both a wealth of new information and fascinating evaluations and
interpretations… a work that is both innovative and original.
February 6, 2017 Comments Off on At the End of the Street in the Shadow: Review by Afterimage
Matthew Moore’s review of At the End of the Street in the Shadow: Orson Welles and the City appeared in the latest issue of the US journal Afterimage (issue 44.3, 2016). Moore writes:
“If one beholds Welles’s oeuvre as one of the most multifaceted sets of modern artistic expressions, then surely one will find this newest book an enjoyable and stimulating read…. A generous number of stills, some diagrams, and a short dialogue excerpt enhance the study, fleshing out the idea that Welles’s modern cinematic vision was urban and cosmopolitan par excellence.”
For more, see HERE.
November 10, 2016 § Leave a comment
The new novella.
Last seen in 2013’s Lewis and Loeb, Arthur James Lewis returns for another comic misadventure!
In the winter of 2014, Lewis yearns for nothing more than Cicero’s ideal—a garden and a library. Desperate for a peaceful place to complete Carthage: The Sound of Distant Drums, the latest (and longest) of his “magisterial novels of the ancient world”, he finds himself instead harassed and disrespected.
Where to begin? His wife refuses to type up his manuscript. His live-in niece has installed a noisy satellite television to addle the brain of her toddler. The gas company has switched off the heat in an act of shameless revenge. And at a ghastly pop culture convention in blizzard-battered Ohio, Lewis is collectively mistaken for a hack writer of Westerns.
An unexpected windfall of cash allows Lewis to escape to Mendoza, Argentina, where he hopes for a fruitful discussion with the beautiful Camila Weitensteiner, eminent scholar of Ancient Rome, who also happens to manage a small family winery with a guest cottage overlooking the vineyard. For a moment the garden and library seem within reach, but Lewis has arrived during a standoff between the Weitensteiners and the corrupt and monopolistic Quesada family that threatens to become all-out war. Yet again he will learn that a writer’s peace is elusive.