Alexander Pope recited in the style of William Shatner. A French general, born into slavery in Saint-Domingue, locked in a war of attrition with Napoleon Bonaparte. A live link to Hollywood during Oscars week. It could only be the House of SpeakEasy. “This Is Not A Man” delivered another Seriously Entertaining mix of music, comedy, history and literature in the warm embrace of City Winery in SoHo. First out of the gate was Dana Vachon, author of Wall Street satire Mergers & Acquisitions. He kicked off with a couple of thumbnail sketches — “One story that doesn’t work involves my father and a terrorist…” — before setting off on a globe-trotting assignment set by Vanity Fair. It was a tale of data-mining billionaires, early-morning water calisthenics in Singapore, and uber-alpha-male English expats all called Roger MacMillan, topped off with sage words of advice from Don DeLillo. “I asked him what young novelists should be writing about,” said Vachon, “and he said immediately, without hesitation, the destruction of the environment.” The comedian Steve Coogan, who stands to win his first Oscar this weekend for his screenplay for Philomena, spoke to SpeakEasy founder Amanda Foreman via Facetime from Los Angeles. Coogan has enjoyed a phenomenally successful career in comedy, but Philomena is […]
Read MoreWe’re just days away from our February show, “This Is Not a Man”. Speechless with excitement, it seems only right that we hand over to our six guests to introduce themselves. So without further ado… Tom Reiss won both the Pulitzer Prize and the PEN/Jacqueline Bograd Weld Award for Biography for his latest book, The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo. “It’s a great, forgotten, unknown, erased African-American success story,” he says, “and a story of a moment in time that really should realign our understanding of the history of race and race relations in the west.” Here he is talking about the origins of the book, which PEN judges called “a miracle of research”. http://www.youtube.com/watch?v=ssq7QRhm0x4 Steve Coogan could be the worthy winner of an Academy Award next Sunday. He and Jeff Pope are nominated in the Best Adapted Screenplay category for Philomena. Looking ahead, Coogan’s film Alan Partridge, released last year in the UK as Alpha Papa, is available on demand and via iTunes next Thursday (February 27) and you can catch it in US cinemas from April 4. In a short trip to the UK last year, I actively didn’t see friends so that I could make […]
Read MoreSusan Minot’s latest book, Thirty Girls (Knopf, 2014), is her first novel in over a decade and a significant departure from her earlier work. The girls of the title are the real-life prisoners of the Lord’s Resistance Army in Uganda captured from their convent school in 1996. Five died in captivity, and the last to escape returned to Uganda in 2009. Thirty Girls has been getting great reviews — the New York Times calls it “a novel of quiet humanity and probing intelligence” and says that “to ignore Minot’s book would be a serious mistake” (read Fiammetta Rocco’s full review here) — and we’re delighted to welcome Susan Minot to the House of SpeakEasy. Minot made her name with work of a less geopolitical hue. Her first novel, Monkeys, published in 1986, was a family saga, of which more below. This was followed by the collection Lust and Other Stories (1989), the historical novel Folly (1993), and the screenplay for Bernardo Bertolucci’s Stealing Beauty (1996). The latter was closely followed by Evening (1998), the opening chapter of which you can read here. In 2002 came Rapture, a novella that deconstructs a doomed relationship. Five years later a movie adaptation of Evening was released starring Vanessa Redgrave and Claire Danes and written by Minot and Michael Cunningham (The Hours). Quoting Hamlet, […]
Read MoreThe advent of Dana Vachon on the American literary scene in 2007, with his novel Mergers & Acquisitions (Riverhead, 2007), was a case of spooky synchronicity. His satirical debut novel, a tale of gross financial incompetence and Caligulan excess, may not have explicitly foretold the financial collapse of 2007 and 2008, but with hindsight it certainly had a prophetic air. The book opens at the engagement party for Lauren Schuyler and Roger Thorne, friends of protagonist Tommy Quinn. It takes place at the New York Racquet & Tennis Club on Park Avenue, “the most prosperous street in the most prosperous city in the most prosperous nation that ever lived”. This fairytale cadence sets the tone nicely for a steady procession of grotesques, high-society scrapes, and reversals of fortune. We’re in Bonfire of the Vanities territory here, a world stuck on caps lock characterised by unbelievable quantities of money, unforgivable lapses of basic ethics, and a generation of young men way, way out of their depth. Having narrowly made it onto the graduate programme at J.S. Spenser & Co., Tommy finds he has to work much harder than his friend Roger, who, being rather more to the manner born, has a natural aristocratic style that seems to […]
Read MoreAnton Sword is a romantic of the old school. His Twitter profile describes him as a songwriter and flaneur from “Brooklyn and sometimes Berlin”. His first album, A Sentimental Education (2007), shares its title with a nineteenth-century French novel. His song titles include “On the Precipice”, “Behind the Scarlet Curtain”, and “City of Oblivion”. All this lavish, sublime, Baudelairean-Flaubertian romantic ambience is surely enough to put even the sourest of sour pusses in the mood for Valentine’s Day. We’re delighted that Anton has agreed to mark the occasion with a selection of his favourite romantic tracks. But first, if you’re new to Anton’s music, a few words of introduction. The influence of French modernism already noted is overlaid with a distinctly postmodern approach to instrumentation and structure. He will happily mix an electronic pulse with more traditional instrumentation; his chord progressions defy generic expectations; his voice, at once sensitive and passionate, tender and hard, gives his lyrics an ironic edge. As, say, Morrissey’s hound-dog vocals and melancholy lyrics form unholy alliances, so Anton’s wry observations find themselves couched in lush orchestration. Take the opening of “Here in the Hurricane”, for instance: Like Morrissey — or Kristian Hoffman, another artist with whom Anton bears comparison […]
Read MoreJANE I think what they did to you was evil. PHILOMENA No I don’t like that word. MARTIN No — evil’s good. (They stare at him) Story wise. You can read Philomena: A Screenplay by Steve Coogan and Jeff Pope, based on the book by Martin Sixsmith, on the Weinstein Company website here. As with most published screenplays, there are some discrepancies between this and the final film. We’re extremely excited to be welcoming Steve Coogan at our next Seriously Entertaining event, “This Is Not A Man”, on February 24 (tickets on sale here), and delighted to be able to congratulate him on his Best Adapted Screenplay Oscar nomination for Philomena! Here we take a look at his award-winning work on the movie. Steve Coogan and Jeff Pope’s screenplay for Philomena (dir. Stephen Frears, The Weinstein Company, 2013), was adapted from Martin Sixsmith‘s nonfiction book The Lost Child of Philomena Lee (Macmillan, 2009). It’s one of six Best Picture nominees at this year’s Academy Awards based on true events but one of only two (the other being The Wolf of Wall Street) that actively interrogates its “real-life” nature. Indeed, I’d argue that what makes Coogan and Pope’s screenplay so powerful is the tension between the simple “human interest” story Sixsmith sets out to […]
Read More“To remember a person is the most important thing in the novels of Alexandre Dumas,” writes Tom Reiss in the opening pages of his Pulitzer Prize-winning biography The Black Count (Crown, 2012). “The worst sin anyone can commit is to forget.” It’s a sin Reiss cannot be accused of, for The Black Count is above all an act of memorial. Alex Dumas’s life will be unfamiliar to most readers, despite the great fame of his novelist son; in this masterful book, he emerges fully formed in his own right. The making of The Black Count is the stuff of literary thrillers: obstructive bureaucrats, locked safes, unpublished letters. Arriving in Villers-Cotterêts, the birthplace of Dumas-novelist, Reiss discovers that the curator of the Musée Alexandre Dumas has died, leaving numerous crucial documents in a locked safe. “I am afraid the situation is most delicate,” says Fabrice Dufour, the town’s deputy mayor. “And most unfortunate.” Reiss wines and dines Dufour, trying to persuade him of the potential historical significance of the documents over which he now has jurisdiction. Eventually he gains limited access, finding “seven or eight feet of battered folders, boxes, parchments, and onionskin documents collected over the years”. According to my agreement with the deputy mayor, I had just […]
Read MoreIn 1991 the New York Times marked the “earth-shattering news” that Pauline Kael was retiring by interviewing her. The great iconoclast of film criticism, whose put-downs made her unpopular with publicists but delighted readers of the New Yorker for more than twenty years, nevertheless found much to admire in the latest crop of Hollywood stars. She listed among her favourites Tim Robbins, Annette Bening, Uma Thurman, John Cusack and Wesley Snipes. That this is a list of some of the most significant screen actors of the two decades since Kael’s retirement is a testament to her uncannily splendid taste. That it features one of the special guest hosts for the House of SpeakEasy’s opening gala — Uma Thurman — is merely delightful coincidence! On the night of the gala, Uma Thurman will be leading guests through “The Tip of My Tongue”. The Oscar-nominated actress will read out selections from three mystery books, all carefully chosen to reflect the theme of the evening (“Plays With Matches”), and invite the audience to identify the title, the author, and the decade in which the books were written. The winner will receive signed books from the authors appearing at the gala. Thurman began her acting career at seventeen, four […]
Read MoreDar Williams, who is our special musical guest at the House of SpeakEasy’s opening gala at City Winery, has more than twenty years of recording and performing to her name. Described by the New Yorker‘s Hendrik Hertzberg as “one of America’s very best singer-songwriters“, Dar’s back catalogue includes nine studio albums, two live albums, a handful of EPs, a greatest hits compilation (warmly titled Many Great Companions), and two rare early recordings, distributed at concerts or to family and friends and available only on cassette, for the eBay hounds to sniff out. For those of you new to Dar’s witty, incisive brand of pop folk, here’s a quick video introduction… “I will not be afraid of women!” sings Dar on “As Cool As I Am”, originally featured on Mortal City (1996) and re-recorded in this splendid acoustic version for Many Great Companions. It’s a defiant refrain, one that announces her feminist credentials with thrilling boldness, and its confidence is no doubt part of what makes “As Cool As I Am” one of her most popular songs. Many of her lyrics describe the search for truth in the everyday; and it’s a transformative truth, “just like time, it catches up and it just keeps going”. By the end of the […]
Read More