Art and Reality in The Wire

I was a latecomer to The Wire. I’d been hearing for years about how it was ‘the most amazing show ever’, but people were saying the same about Battlestar Galactica, and, I mean, come on: it’s about robots or something. But when my wife and I finally started watching, we quickly became hooked. Now, obviously the world doesn’t need yet another person saying that The Wire is the best show of all time (so we’ll take that as read). But just what is it that makes it so good?

Jonathan Jones posted something on this topic on his Guardian blog the other day. According to Jones, the realism of The Wire is ‘in creative tension with its self-consciousness as art.’ Now, it could be argued that this statement is equally true of anything at all except (maybe) CCTV footage. The Wire did not invent the tension between realism and technique. In fact, the question of The Wire’s realism really highlights the inadequacy of the term ‘realism’ for discussing this problem — because, on close examination, The Wire is not a particularly realistic show. Jones is right to praise the inventive dialogue, but there isn’t a single aspect of the show which is not affected, and enriched, by that same inventiveness. The Wire may be the most the most intricately designed series in TV history. Is it ‘realistic’ that the internal concerns of the gangsters and the police should mirror each other so perfectly? That Pryzbylewski should become a teacher just in time for the season devoted to the school system? That Omar Little exists?

Scenes from the End of Suburbia

Walking in my in-laws’ neighbourhood in Bothell, Washington, a satellite town orbiting northern Seattle, I came across an increasingly common feature of the local scenery. Hidden from the busy suburban street behind a uniform wooden fence, an entire housing development sits in an island of tranquility. One long street stretches perpendicularly from the main drag, and from it radiate three short stubs of road, their names advertised on shiny new street signs — ‘9th DR SE’, ‘20th DR SE’. Everything here is new. The sour smell of new tarmac still lingers over the freshly-paved road, and the white stripes of the pedestrian crossings glow in the sunlight. All is in place, in fact — the street lamps, bright yellow fire hydrants, large communal mailboxes — except the houses. It’s as if they simply vanished in the night.

The Life of Fiction: James Wood’s How Fiction Works

I.
Perhaps because critical theory has rendered the subject so fraught, it is unusual these days to see any literary critic dare define the nature of fiction itself. James Wood, however, is an unusual critic. An aesthete who emerged from academia at the height of the theory invasion, Wood has the air of a refugee. Like a dissident writer exiled from his homeland, he bears the mark of the culture he left behind, both in what he has rejected and what he has embraced.

Wood, who was recently took a new job as book critic for the New Yorker, is regularly referred to as ‘the greatest critic of his generation’, or in similar terms, by the likes of Cynthia Ozick and Norman Rush. Given such success, a book like How Fiction Works seems long overdue. Wood has previously published two collections of critical essays, but he has styled his new work rather differently: not as criticism per se, but as a primer on novelistic form, in the tradition of E.M. Forster’s Aspects of the Novel. The book is divided into chapters, each treating a single formal element, such as ‘narration’ or ‘detail’. Although it gives its name to only one of these chapters, in a sense detail is the unacknowledged focus of the book as a whole. Wood is a devotee of detail, whether it be the delicate touches that create our impressions of a character, the subtle balancing of omniscience and subjectivity in third-person narration (‘free indirect style’, for which he has an evident fondness), or the nuance of meaning created by the careful manipulation of word and phrase.

Sins of the Father: P.T. Anderson’s There Will Be Blood

Paul Thomas Anderson has an abiding interest in guilt. All of his films revolve in one way or another around its characters’ struggle with their consciences, but in his latest film he has surely expanded this theme into its ultimate iteration: There Will Be Blood wallows in guilt; bathes in it; dives, sinks and ultimately drowns in it. While There Will Be Blood perhaps lacks the range of emotion experienced in Magnolia and Boogie Nights, it more than makes up for it in depth. In oil man Daniel Plainview (played with a characteristic mix of caricature and subtlety by Daniel Day-Lewis), Anderson has created a figure of masculine weakness to rival Mr. Ramsay or Charles Foster Kane: a proud, stubborn egoist with a streak of vanity, and an impenetrable emotional distance that conflicts unattractively with a powerful hunger for affection. Scarcely off-screen for the film’s 158-minute duration, Daniel reveals his ugly secrets to us with a paradoxical mixture of intimacy and ambiguity.

Pinning down Godot

HAMM:
We're not beginning to... to... mean something?
CLOV:
Mean something! You and I, mean something!
(Brief laugh.)
Ah that's a good one!
—Endgame by Samuel Beckett

While in negotiations to take the part of Pozzo in Beckett’s Waiting for Godot, Ralph Richardson asked the writer if Godot, the absent figure for whom Estragon and Vladimir perpetually wait, was a symbol for God. Beckett replied ‘that if by Godot I had meant God I would [have] said God, and not Godot. This seemed to disappoint him greatly.’ Beckett was exasperated throughout his life by his commentators’ attempts to attribute symbols and meanings to his plays. Despite Beckett’s (often vociferous) denials, the trend continues: the Wikipedia entry for the play includes a section devoted to different interpretations, including everything from political allegories to homosexual subtexts.