Back in 2003, Other Press—one of the most interesting independent presses out there—brought out a book about Walt Disney entitled The Perfect American by Peter Stephan Jungk and translated from the Germany by Michael Hofmann.
I remember hearing about this book from my friend Blake Radcliffe (which, I still maintain, would be a fantastic porn star name . . . Blake Radcliffe and Lexy Spry . . .) when he worked at Other Press. It sounds pretty interesting—the novel focuses on the last few months of crazy Walt Disney’s crazy Walt Disney life (his delusions of immortality, EPCOT as Utopia, etc.) from the point of view of Wilhelm Dantine, a cartoonist who worked for Disney on Sleeping Beauty.
Unfortunately, I never got around to reading this (sorry Blake!), but I’m planning on getting to it soon, since Other Press just brought out a paperback edition to celebrate the new Philip Glass opera version that just premiered in Madrid.
From the New York Times:
Peter Stephan Jungk’s novel The Perfect American is a surreal, meditative, episodic account of the last days of Walt Disney.
It seems at first glance to be an ideal source for an opera by Philip Glass, whose surreal, meditative, episodic explorations of the lives of famous men — always men — have formed the bulk of his prodigious operatic output. [. . .]
At the fourth performance on Wednesday, the subtle, moody score, at war between its propulsive and serene impulses, felt more than equal in quality to the festive occasion. While criticisms of Mr. Glass’s music as cookie-cutter have always been misguided, The Perfect American finds him in especially unpredictable form, experimenting with sonorities, textures and pacing.
Led by the Glass veteran Dennis Russell Davies with careful attention to both its underlying pulse and its twists of temperament, the opera opens with an ominous, low murmur punctuated by sharp, syncopated percussion snaps. The sound gradually expands through the orchestra and warms into something that, under Mr. Davies, has more gentle swing than the relentless forward motion generally associated with Mr. Glass.
The music often seems devised to trail off, to run out of steam as it expresses Disney’s struggle with the cancer from which he died in 1966 at 65. But there is nothing exhausted about its inventiveness. Simultaneously eclectic and cohesive, the score incorporates strange, fractured brass fanfares out of Janacek’s Makropulos Case and lilting, seductive rhythms that feel almost foxtrotty, like a misty echo of the 1930s.
Here’s a promo video from Teatro Real:
Too bad I’m not planning a trip to Madrid any time soon . . . At least I can read the book.
And since I LOVE Rework: Philip Glass Remixed album that just came out, and SUPER LOVE Dan Deacon, here’s his contribution, “Alight Spiral Snip.”
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .