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(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com:]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted illegally.)Now that Im finally entering the last phase of my recovery from the bad bicycle accident I had last year, and am up and clicking at full speed again regarding the contemporary books I review on a professional basis, Ive decided to start more and more getting through the older books in my reading list as well, the ones that are on there for personal reasons only. And one of the older writers on this list is the late New Yorker film critic Pauline Kael, because of having so many people now compare my essays to hers; and in an interesting twist of fate, it turns out that of the twenty or so books she published while alive, the only one in the permanent stacks of my neighborhood library happens to be Hooked, covering just the reviews she wrote from 1985 to 1988, a.k.a. my senior year in high school and first couple of years in college, arguably the one period in my life I saw more contemporary movies than any other. (And indeed, of the 175 random films covered in this particular volume, Ive seen 75 of them, making it an excellent opportunity to see whether I agree with Kaels taste in movies or not.)And yes, after finishing this book, I now agree that Kael and I write in a very similar way, although to my haters let me make it clear that I am not comparing the quality of my writing to Pauline Kaels; I simply mean that both of us tend to write very long, highly analytical critiques of artistic projects, penned in a funny, conversational style and referencing a lot of history, with neither of us afraid of expressing strong opinions when its called for. And in this you can see Kael as creating the blueprint for all modern long-form arts analysis, with her influence seen in everyone from the New York Times Michiko Kakutani to the staff of The Onion AV Club; and thats a very interesting thing, I think, given that in our current world of a million crappy critics who no one pays attention to anymore, Kael is becoming more and more forgotten by the day, and that I imagine many Kaelesque long-form critics like myself have no idea that thats who theyre emulating in the first place. Obviously theres a certain inherent datedness in these old books of hers, but I encourage anyone interested in thoughtful artistic analysis to read through some of her work to see how the master did it, and especially concerning the countercultural times of the 60s and 70s when she first made a big splash.Out of 10: 8.8
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