Difference between revisions of "Chapter 11"

Revision as of 11:53, 24 September 2013

Page 112

Billie's Bounce
A bebop classic written by Charlie Parker. Here you go.

who liked to creep
How often has this word appeared already? It's starting to seem important.

Page 114

Sterling Hayden
Sterling Walter Hayden (born Sterling Relyea Walter; March 26, 1916 – May 23, 1986) was an American actor and author. For most of his career as a leading man, he specialized in westerns and film noir, such as Johnny Guitar, The Asphalt Jungle and The Killing. Later on he became noted as a character actor for such roles as Gen. Jack D. Ripper in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). He also played the Irish-American policeman, Captain McCluskey, in Francis Ford Coppola's The Godfather in 1972, and the novelist Roger Wade in 1973's The Long Goodbye. He played the role of Leo Dalcò in Bernardo Bertolucci's 1900 in 1976. At six feet five inches, he was taller than most actors. From WIKI.

Page 116

"a deep sympathy modified by contempt"
In her Notes on "Camp" (1964), Sontag writes "To name a sensibility, to draw its contours and to recount its history, requires a deep sympathy modified by revulsion." Notes on "Camp"

A sensibility (as distinct from an idea) is one of the hardest things to talk about; but there are special reasons why Camp, in particular, has never been discussed. It is not a natural mode of sensibility, if there be any such. Indeed the essence of Camp is its love of the unnatural: of artifice and exaggeration. And Camp is esoteric -- something of a private code, a badge of identity even, among small urban cliques. Apart from a lazy two-page sketch in Christopher Isherwood's novel The World in the Evening (1954), it has hardly broken into print. To talk about Camp is therefore to betray it. If the betrayal can be defended, it will be for the edification it provides, or the dignity of the conflict it resolves. For myself, I plead the goal of self-edification, and the goad of a sharp conflict in my own sensibility. I am strongly drawn to Camp, and almost as strongly offended by it. That is why I want to talk about it, and why I can. For no one who wholeheartedly shares in a given sensibility can analyze it; he can only, whatever his intention, exhibit it. To name a sensibility, to draw its contours and to recount its history, requires a deep sympathy modified by revulsion.