|. . . Fritz Lang|
|. . . 2001-08-06|
And so ends the story of: HATE, ZIP-POW!, and REVENGE
|Fritz's parting present to me was a collection of his favourite comic strips by George Herriman.... he wrote on the flyleaf:|
|. . . 2003-04-12|
|Here Comes Trouble|
1956 - 2003
|. . . 2011-08-03|
I performed legal services for the Institute for Social Research. At first I was a lawyer and wrote stories. Only afterwards did I concern myself with film. Horkheimer and Adorno did not take me seriously as an author. They said, "He is a first-rate lawyer, we like him and are friendly with him, but he just should not make films, and in no event should he write any stories." After Marcel Proust, one can no longer write stories any more. That was Adorno's opinion. He sent me to Fritz Lang in order to protect me from something worse, so that I wouldn't get the idea to write any books. If I were turned away, then I would ultimately do something more valuable, which was to continue to be legal counsel to the Institute for Social Research.... I handled their reparations claims, among other matters....
For his mother nothing was enough for him, and she protected him from his father's cheapness. Adorno became a very sensitive man who knew music but couldn't ride alone on a streetcar. He led the impractical life of a very protected child.... When he was waiting for a streetcar, he changed into Franz Kafka and believed that it would never come. His wife always had to drive him around. It was, among other things, because he had to travel, first in England and then later in the United States, that he got married.
... he had no knowledge of the production sphere. He did not deal with it. He was interested in what Marcel Proust did, with what music did. He never really saw a factory, and that is why he sees society as a factory. That is why I never believed Adorno's theories of film. He only knew Hollywood films. He went with Fritz Lang, Brecht, and Eisler together as friends to Hollywood. They offered scripts nobody wanted. Fritz Lang made Hangmen Also Die. He did not need Adorno for such a film.
- "On New German Cinema, Art, Enlightenment, and the Public Sphere:
An Interview with Alexander Kluge"
by Stuart Liebman, October 46 (1988) (via Mubi)
There are two sides stretching from the frozen moment, two fears guttering our desire for the immobile:
The fear of loss, the hoarder's fear that the beloved will be wrested from us before we're done. And by choice we only desire what we can never be done with; anything less would be, what should we call it, a waste of time.
And the horror of process, that the Queen of Brobdingnag eats and Celia shits, that sausages are made even if one isn't completely sure how, that toys don't spring ex nihilo from Mother Christmas's hands.
(I suppose his injunction against new poetry is more quoted than his injunction against new fiction because fewer people want to read new poetry.)
George Clinton kindly writes from 1978:
Lunchmeataphobia: The fear of being eaten by a sandwich.
Josh Lukin kindly writes more recently:
Incidentally, I long associated noticing and critiquing the Horror of Process with radical arguments (Marxist, feminist, Tory, Raydavisian); but now the Oxford Internet Institute has set me straight.
Yorick Wilks, ladies & gents, and who sez they don't make Tories like they used to?
Copyright to contributed work and quoted correspondence remains with the original authors.
Public domain work remains in the public domain.
All other material: Copyright 2015 Ray Davis.