Reviews: A Potpourri

Over the last three weeks I’ve been lucky enough to enjoy several epochal cultural phenomena, and always eager to share that which has knocked my socks off, I submit to you all the following can’t miss works of art:

Extremely Loud and Incredibly Close, Jonathan Safran Foer: To say this book blew my mind is an understatement, for it altered every idea I had about what a novel is, was, and could hope to be. To be honest, when I picked it up and read the synopsis I was skeptical at best. I have little tolerance for exploitation and I saw the plot, a young boy dealing with his father’s death in the World Trade Center, as exploitative schlock at its worst. But I’ve never read a book that dealt so poignantly with grief, human connection and self-knowledge. The book is everything at once: a wild adventure, a love story, a pacifist tome, a reflection on memory, a historical fiction, a comedy, a tragedy, etc. etc.

But in the end it’s the simple story of a boy seeking understanding, and it’s phenomenal. In a way, it’s depressing that the best possible novel has already been written. But you should read it anyway.

Henderson the Rain King, Saul Bellow: This book takes us into the heart of undiscovered Africa with Eugene Henderson, a middle-aged patriarch and wealthy heir seeking to burst his spirit’s sleep and quell the internal voice that screams I want I want I want. This book explores self-consciousness and happiness (or more specifically contentment). Is it enough to just get by, to live life and ask for nothing more, or by doing so are we suppressing our call for something better? This theme particularly resonated with me, and I suspect it will with some of you as well.

Ragtime, E. L. Doctorow: If you have even a minor interest in American History this book is worth checking out. Seamlessly weaving real historical figures (Houdini, J.P Morgan, Henry Ford, Emma Goldman) and fictional characters in early 1900’s New York, Ragtime is one of the more engaging narratives I’ve read.

Big Bang Theory: This CBS sitcom is fairly formulaic in the 30-minute laugher tradition, but in my opinion does it better than any other show on TV right now (The Office seems to have lost its bearings). It’ll never live up to Seinfeld or Arrested Development standards (and it follows more of a linear story line…think Friends), but in the huge pile of sitcom shit it definitely rises to the top. It has likeable characters, a funny premise and every word out of Sheldon’s mouth is comedic gold.

Viva la Vida, Coldplay: The progression of Coldplay’s career has been an interesting one for me. The first major release, Parachutes, was simple, sincere, not quite gritty but far from produced. Just four great musicians with serious melodic intuitions playing great songs. Guitars, piano and drums. No fanfare. No expectation. It was also the source of a few songs that remain my favorites to this day.

Then came A Rush of Blood to the Head, their sophomore effort that produced major pop hits, including Clocks and The Scientist, making Coldplay bonafide superstars and the heir apparent to U2. They turned political, donning the equality sign to show their support for Fair Trade. Lead singer Christopher Martin married Gwenyth Paltrow. They became rock stars, and celebrities.

In X&Y this newfound rock star status, and their efforts to meet expectations, showed a bit. Every song felt like an epic. The organ became a featured instrument. They sounded like they were trying to bear the weight of the world and right every injustice with each lyric. The music was still amazing, the melodies still spot on, but it was exhausting (and Chris Martin was starting to sound like more and more of a sissy with the falsetto. Don’t get me wrong, he’s got a good falsetto, but a little goes a long way).

Viva la Vida says f*%$ that. We’re four damned good musicians and this album’s for us. And by the way, you’re gonna like it. And I do. Sometimes it’s funky (Lovers in Japan), sometimes it’s bluesy (Cemeteries in London), sometimes it can only be described as twangy orchestral (Yes). At least one song ought to feature Ludacris (Lost), and the single Violet Hill is arguably Coldplay’s first true rocker (or close enough).

Thanks for reading.

P.S. Mr. A, thanks for the link in the last comments section. James Dobson is a douche and a fraud. Maybe I’ll bring back People of Note in his honor.