Thursday, November 18, 2010

Typee - Herman Melville

Typee: A Peep at Polynesian Life During a Four Months' Residence in a Valley of the Marquesas (Melville, 1846)

Ah, the good old days when slender tomes staggered beneath the weight of their titles! This was Melville's one-hit wonder while he was alive, easily his biggest seller and much more embraced by the public than his subsequent whale of a tale. Though Moby Dick easily outstrips this beginning work in drama, action, range, humor, technique, and one-legged psychopaths, Typee is a good first book, sort of an autobiotravelnovelogue.

It's definitely a little strange: is it fictionalized autobiography, or autobiographical fiction? In brief: two sailors abandon their whaling vessel and wind up living among the people of the Typee (now spelled Tai Pi) valley in the South Pacific island of Nuku Hiva. This, of course, is something Melville actually did as a young man, and his fellow adventurer corroborated the story after it was published. It's tough to tell how much is fiction, or how much is post-adventure research folded in to the story. It's interesting enough, however hybridized it might be.

From the time the pair escape, up through their first few days in custody of the Typee natives, things are actually pretty exciting. They cross rough terrain and risk their necks climbing up and down island cliffs; they face hunger, injury, and illness; they are caught by potentially hostile cannibals and brought into the village for a very tense reception. These are all great scenes. Unfortunately, once accepted into the bosom of the native people, not much else happens. Melville paints a Rousseau-like paradise of half naked, carefree people, not slaves to work or class, not bound by Western strictures or religions, blessedly free of "civilization." Of course, he does no editorializing at all, simply unbiased observation...

There are some worthwhile episodes of life in the valley, and there is the inevitable island romance. I do think there are some genuine insights into another culture buried in the editorializing, but I almost think (to do some editorializing of my own), instead of a people still in the innocence of childhood, the Typeans are seen in the twilight of their civilization, and not just because of the Western invaders. The birth rate is low, the people are mostly secular, and the primary occupation is entertainment. Past knowledge has been lost, and previous generations accomplished things beyond the pale of the current inhabitants. Every once in awhile they stir up a fight with the neighboring valley, but then they partake of a sophisticated, not a primitive, evil -- they heap contempt on their enemies by eating the slain.

Of course, the whole cannibalism thing ultimately convinces Melville/the narrator to leave at the first available opportunity, and we get some more action at the end. On the whole, it's not a bad read. Melville would go on to better things.

Arbitrary rating: 3.5 out of 5 breadfruit trees

Saturday, November 13, 2010

Chicago VII

Chicago VII (Chicago, 1974)

1. Prelude to Aire - 2:47
2. Aire - 6:29
3. Devil's Sweet - 10:09
4. Italian from New York - 4:14
5. Hanky Panky - 1:53
6. Life Saver - 5:18
7. Happy Man - 3:17
8. (I've Been) Searchin' So Long - 4:28
9. Mongonucleosis - 3:28
10. Song of the Evergreens - 5:21
11. Byblos - 6:20
12. Wishing You Were Here - 4:38
13. Call on Me - 4:03
14. Women Don't Want to Love Me - 4:37
15. Skinny Boy - 5:17

Time for a little rediscovery. This album isn't new to me, but that's the joy of music: it can be eternally reborn in the ears of the listener. Besides, after the jagged, experimental jazz rock of Soft Machine, I thought it would be interesting to revisit a friendlier branch of the same musical tree.

This double album is a half-and-half affair: the first LP (tracks 1-7) is mostly instrumental and jazz-focused, while the second LP delivers the hits. The jazz half is invigorating and expansive, an excellent sequel to the sprawl of the band's first three albums, which were also doubles. The pop half doesn't abandon the musical fun, though, and it adds some transcendent harmony vocals. Though there are some weak spots--the cheesy bossa-nova of "Happy Man," the interminably rambling"Byblos"--this is a solid double album from a diverse and adventurous band.

"Prelude to Aire" is just drums, conga, flute, and Mellotron strings, painting a sound picture that swells gradually into "Aire," which features trombone and trumpet playing harmony leads in 7/8, courtesy of James Pankow and Lee Loughnane. The sunny horn melody is lightened by Walt Parazaider's flute to great effect, then Terry Kath's guitar takes over for some tasteful soloing. The horns come back in for a coda and bring it all to a graceful close.

"Devil's Sweet" starts as a smoky, indolent swing tune, one that might be playing in a speak-easy in the dead of night. This morphs into a gentle, almost pastoral song. As we float away on the purity of the heavenly horns, nothing bad could happen to us... right? Wrong! The drums are the first indication of trouble, playing away in a heathenish fashion as Robert Lamm's keyboards make atonal noises above the restrained din. Then the keys get dark and earthy as the horns blare a dissonant chart above a descending riff. This transforms into a thrilling 12/8 jam with a brash synthesizer solo over madly choppy rhythm guitar, sprinting bass, and occasional horn punctuations. The piece ends with another drum solo and then floats away on the drifting speak-easy swing of the intro.

"Italian in New York" and "Hanky Panky" continue the fun with creative tonalities, strange time signatures, and a sprightly trombone solo from the accomplished Mr. Pankow. They flow into the first song with words, "Life Saver," which is a pretty straightforward rock song with a little bit of swing and even funk creeping in (but not too much). The first half of the album ends on the Peter Cetera-penned "Happy Man," which, as mentioned before, is a weak spot. Airy keyboards, la-la vocals, and the inescapable bossa-nova groove...

Thankfully, the second half starts out with one of Pankow's best songs. "(I've Been) Searchin' So Long" starts out somber and somewhat mysterious, but as the melody unfolds and the harmony vocals fill the sky with warm light, you know you made the right decision. The song builds from a reflective piece to an anthemic celebration, bursting forth into a regular block party on "Mongonucleosis." The two Terry Kath compositions that follow these are a little weak. "Song of the Evergreens" and "Byblos" have some interesting chord progressions, but they aren't terribly memorable, and they repeat a lot. "Byblos" in particular feels endless and rambling as Kath recounts a potentially romantic encounter that fizzles (like the song) into nothing.

Cetera redeems himself from "Happy Man" with "Wishing You Were Here." Guitar and bass create a slightly darker mood, and the harmony vocals paint a deep twilight, with the dying rays of sunset mottling the blackening clouds. Some of the Beach Boys contributed backing vocals to this one, and it really elevates the song. This poignant ode to loneliness is followed by one of the brightest songs in the band's catalog. "Call on Me" boasts energetic horns, dancing rhythms, and a catchy, sunny melody that seems so effortless it belies the excellence of the craft. The last two songs, "Women Don't Want to Love Me" and "Skinny Boy," are fun rock songs with a little bit of funk and gospel thrown in. They are definitely more than filler, but they don't quite reach the heights of their predecessors.

On the whole, Chicago VII marks a last hurrah for a band whose rock and jazz leanings would be gradually constricted by the pressure for more hits. Of course, the hits came, but at what price?

Arbritrary rating: 4 out of 5 mongonuclei

Friday, November 05, 2010

Orthodoxy - G. K. Chesteron

Orthodoxy (G. K. Chesterton, 1909)

I read this book twice, and I still don't think I can do justice to its genius. Despite the ominous title, this is not a dry treatise on Christian belief: it is a fun, adventurous, and (dare I say it) spicy intellecutal autobiography of how Chesterton came to believe the Christian faith. As a chronicle of the questions and answers found by an intelligent and thoughtful person, this book is worth a read by even the staunchest of atheists.

First off, it's hilarious: Chesterton has a knack for employing wit in the service of reason. When talking about love: "A mother does not give her child a blue bow because he is so ugly without it. A lover does not give a girl a necklace to hide her neck." When talking about arbitrary rules in fairy tales: "If I leave a man in my will ten talking elephants and a hundred winged horses, he cannot complain if the conditions partake of the slight eccentricity of the gift. He must not look a winged horse in the mouth." One more, on materialism: "The materialist is just as sure that history has been simply and solely a chain of causation, just as [a madman] is quite sure that he is simply and solely a chicken. Materialists and madmen never have doubts."

The gist of the book is thus: Chesterton, like all good intellectuals of his day, tried his best to get on board with the latest ideas:

Materialism - Matter and energy is all there is, and everything in existence was forced to be the way it is by the laws of nature and physics.

Will to Power/Nietzsche - Man must make choices simply to prove he is not constrained by the common herd of society.

Humanism/Progressivism - Things are gradually getting better and better as we cull the good ideas out of religions past and discard the rest.

Socialism - If goods, powers, and wealth are evenly distrubuted, immorality and suffering will disappear.

Hedonism/Paganism - Enjoy life to the fullest, and forget about those old restrictive rules.

Spirituality - All religions are the same, and all things living and unliving are pieces of a greater cosmic whole.

As he thinks through these ideas, he runs into the problems of his own experience. In Chesterton's view, life is a wonder, a beautiful work of art, yet at the same time a dangerous place where the good things are like remnants of a wreck. He doesn't quite get mystical, but he definitely paints a poetic and sometimes paradoxical picture of the human experience and the world we live in. People need transcendent joy and desperate sorrow; the familiarity of home and the foreign thrill of adventure; a sense of devotion to a place but also the desire to tear the place down and build it up better than ever. Where he sees compromise in other ideas, in Christianity he sees both passions living side by side at full force. Where he sees the paralyzation of thought or action in other ideas, in Christianity he sees a path for both.

Anyway, he is infinitely better at expressing his ideas than I am. There are occasional references to people and places that don't make much sense a century later, but in context, it's easy to catch on. For the intellectually curious, this is a great read.

Arbitrary rating: 5 out of 5 winged horses