Jimmy Breslin Is Not Finished

About a dozen years ago, his columns began to be the sort of column that one’s editors classify as “occasional,” the sort written on the death of an acquaintance or because the writer needs to release a memory so it can release him.

In November 2004, he quit abruptly, quit writing his regular column, quit in the headline, which read in full: “I’m Right—Again. So I Quit. Beautiful.” Jimmy Breslin’s final column for New York Newsday on November 2, 2004, predicted a John Kerry victory in the U.S. Presidential election that day and closed with the image of him going to bed early so he can “rise in the darkness and pursue immediately an exciting, overdue project.” Thus, since he considered himself to be otherwise occupied, he was through with writing a column and he ended with, “Thanks for the use of the hall.”

He was 74. He had earned the right. Almost six decades in the newspaper business? He wrote for almost every newspaper and helped start New York magazine. He won the 1986 Pulitzer Prize for Commentary. He had earned to right to quit with the newspaper running banner headlines, a week-long countdown to his final goodbye column, and a special section devoted to his work, but he chose to simply announce in a column that there would not be another one, that the space was now available for someone else.

On Sunday, The Daily Beast published the first new work from Jimmy Breslin in more than a decade, a 2500-word work of what is being called “autobiographical fiction” entitled “Trumpet Lessons, Life Lessons.” The online magazine has been re-publishing classic Breslin columns for the last several years; John Avlon, the editor-in-chief, is a Breslin fan.
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Deus X-Files

Deus ex post facto: plot twists and other dilemmas …

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In classical drama, the term deus ex machina refers to a plot device wherein a plot problem is suddenly solved by the arrival of a previously unannounced character who supplies the answer or solution. “But don’t you know? That’s your brother!” would be a line delivered by a deus ex machina character, thus helping our hero avert or defeat a troublesome situation.

When a playwright or a novelist needs to fix an intractable plot puzzle, he or she might resort to the tool, which is Latin for “god from the machine,” or “you couldn’t figure it out for yourself with the characters you’d created, so you punted,” but audiences since ancient times have tended to see through the fix. “Where did HE come from?” More often than not nowadays, it is used ironically, but when you find yourself reading a book and seeing lines delivered by a character that you do not remember being introduced to, your inattentive reading is not to blame. That character really was not there 20 pages earlier.
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‘They are bluffing, and you must learn to bluff too’

In the documentary, Tell Me the Truth About Love, W.H. Auden’s friend Thekla Clark recounts the story of one of Auden’s lovers complaining to him that he thought Auden would be more “romantic,” being a poet, after all. “But you aren’t romantic,” Clark quotes the lover telling the Auden. “You aren’t romantic at all.”

“If you want romance,” Clark quotes Auden replying, “screw a journalist.” (Except the word he used was not “screw.”)

Auden was not one to ruin a good line—or a good night—by spending it an explanation of the difference between the romantic and the sentimental.
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