Pinko Wallace Stevens (@PinkoStevens) header
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used to love Proust but living la vie Belacqua/helped me understand I'm probably more of a Kafka

Joined February 2020
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I oppose Arkansas statehood, but it’s not unreasonable to support it. I would respect Arkansas statehood as legitimate. Wyoming statehood is a nakedly illegal and bad faith power grab and if some future administration fails to end it, I’d consider it a genuine coup d’état.
I oppose Puerto Rico statehood, but it’s not unreasonable to support it. I would respect Puerto Rico statehood as legitimate. D.C. statehood is a nakedly illegal and bad faith power grab and if some future administration tried it, I’d consider it a genuine coup d’état.
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No argument except the obvious, which is that before anti-trans bigotry became the new crusade for cultural conservatives who realized they had lost on gay rights, trans women were allowed by default for decades in many sports without ever shutting out cis women.
I don’t know how to explain this to people, but sports is really a big deal and having transgender girls in girls’ sports is never going to happen and there’s no argument you can come up with that will make it happen. You don’t understand this because you don’t understand this
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Carson writes lots of stuff that "lives in the page and keeps readers (inc. me) company over a lifetime," it's just that in her best work her primary units of composition are the book, the sequence, and the essay rather than the individual short lyric poem.
I don’t have much to say about Anne Carson. When I tried to read her poetry years ago, I realized she’s a poet who writes elaborate art-school projects rather than individual poems that live on a page and keep the reader company over a lifetime. She’s a creature of academia.
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Pinko Wallace Stevens retweeted
Also there's a clear anxiety of influence wrt Carson as the person who made great English literature out of deliberately hyper-sparse translations and adaptations of Greco-Roman classics. Wilson is a much more "faithful" translator but she still lives in Carson's stylistic world
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Aeschylus' best play is Macbeth. Sophocles'best play is King Lear. Euripides' best play is Othello Aristophanes best play is, of course, The Birds, but Twelfth Night comes close
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Just reread vol. 1 of WCW's collected and while I don't dislike him I keep getting annoyed he'll never fully commit to just being A.R. Ammons
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One fun thing about Samuel Johnson is that both of these models are operative and in tension throughout the Lives; Shakespeare is the greatest English poet in a "craft" sense but Pope is the technological cutting-edge
So I think sometimes you have a "technological" model of aesthetics ("why watch The Twilight Zone when I could watch all he subsequent works that learned from The Twilight Zone") and other times a "craft" model ("a good clock is a good clock now or in 1501"), and both are right.
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"There are no gods" is a pretty straightforward way to read the mini-arc of Telemachus looking for disguised gods only to be definitively told he won't find any + the reveal of "Athena" as a manifestation of Odysseus' guilty conscience drawn from a specific woman he watched die
I’ve spent my share of time defending Wilson as a scholar, but I can’t say quite as much for her film criticism. I don’t know how anyone leaves the theatre believing ‘there are no gods’ just because they weren’t depicted in person.
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"Why is Emily Wilson taking Nolan's Odyssey so personally?" idk, maybe because he put her in it?
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The Nolan hero is a man who feels Guilty because he has lost his Family via injudicious use of his Talent. Now he must overcome his Guilt in order to properly use his Talent to get back to his Family
The most astute criticism Wilson levies on Nolan's Odyssey is already there in the title: an uncomplicated man. Nolan's Odysseus does not have a complex psychology, defects or virtues, nor does he get any character development. He is just there to give voice to the film's theme.
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(the Talent can be many things but is reliably a metaphor for directing)
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Anyone surprised by the intensity of Wilson's takedown of Nolan clearly wasn't familiar with her game:
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I'm 30 now that's pretty insane
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Many of the discouragingly drab elements of the production work better in context; we don't look at the boring costumes we look at the monumental focus du jour. Most scenes with no/only incidental dialogue were fairly compelling
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It is still Oppenheimer again, both in its perpetual montage pacing and its thematizing the loss of the world's innocence in war. Worse writing and acting, but better fight scenes.
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