Life As We Show It
Writing On Film
Edited by Brian Pera, Masha Tupitsyn
Introduction by Masha Tupitsyn
"Dodie Bellamy immerses herself in thoughts of E.T. while coping with her mother's dying. Wayne Koestenbaum riffs on the gender 'puzzle' that is Elizabeth Taylor. Bard Cole considers both the veiled porn
implicit in mainstream movies featuring young men, and the life of erotica icon Joey Stefano. Richard Grayson exhumes the film screens of his Florida youth. Abdellah Taia, sitting with his dozing mother in a
darkened Moroccan room, recalls finding sexual self-realization watching a queer French movie on TV. Rebecca Brown overlays her own life with imagery from classic Westerns. In these smart essays, plus a few short stories, a poem and a screenplay, 25 entries in all, contributors – smitten by cinema both contemporary and classic – cast a personal eye on a universal medium. They aren't reviewing films, though. Instead, these writers muse on how film and life are intertwined, how they find themselves on screen and how those screens in turn reflect them. Settle in with a box of Twizzlers and revel in the provocative thinking collected in this fresh take on popular culture."
-- Richard Labonte
Gay & Lesbian Times
". . . these writers muse on how film and life are intertwined, how they find themselves on screen and how those screens in turn reflect them. Settle in with a box of Twizzlers and revel in the provocative thinking collected in this fresh take on popular culture."
—Gay & Lesbian Times
"This collection of short stories, essays, and poetry compiled by Pera (Troublemaker) and Tupitsyn (Beauty Talk & Monsters) examines what it means to experience the world through the cinema. . . . Exceedingly personal and usually provocative, the pieces included here represent our collective history with film. VERDICT: Recommended for film studies students and scholars as well as adventurous and creative film buffs." —Pam Kingsbury
Midewst Book Review
"The movie has long since passed the book as the primary method of American storytelling. Life as We Show It: Writing on Film is a blend of fiction and ponderings on film from many well known writers who offer their ideas on the concept of life imitating art. The result is intruiging, thought-provoking and high entertaining. Brian Pera and Masha Tupitsyn have put together quite a volume, making Life as We Show It a uniquely recommended read."
"This cross-genre collection unites 25 writers and thinkers to explore the cinematic experience and the film-viewer relationship via short stories, essays, and poetry. The texts play with the idea that life imitates art by asking: If movie-watching has become a primary way of experiencing the world, what kind of movies are our lives imitating? Pera is an author as well as a film director. Tupitsyn is a fiction writer and cultural critic."
"… this collection uses cinema as a literary springboard. Movies are not so much the subject as they are the hook — the departure point for authors with varied credentials (some are poets and novelists, others academics and armchair theorists) to offer up fiction and creative nonfiction . . . all ordered around their personal relationship with films as medium and filmgoing as practice."
"Twenty-five writers discuss attachments they formed for certain movies -- ET, Shane and Rosemary's Baby acquire new significance and resonance after reading these inspired pieces of narrative nonfiction."
"At the core of Life as We Show It is the paradox of the viewer, who is at once passive and intrusive, detached and yet profoundly affected by the viewed scene. The writers embrace that paradox, using it, Tupitsyn says, 'as an ingredient for narrative impetus — for writing, for imagining, and for thinking.' Taken as a whole, the collection provides a glimpse of where the brave new media-saturated world may be taking the ancient art of storytelling."
"We'd like to note the excellent 'Outtakes' by Lidia Yuknavitch, who offers a rewriting of La Fureur de vivrer by Nicholas Ray; 'Phone Home' by Dodie Bellamy juxtaposes her own fiction with Spielberg's vision for E.T.; . . . 'The Elizabeth Taylor Puzzle' by Wayne Kostenbaum takes apart and puts back together the body of Elizabeth Taylor; 'Hysteresis' by Elizabeth Hatmaker develops around the film Good Luck, Miss Wyckoff by Marvin J Chomsky; and 'Behind the Scenes' (1982) by Masha Tupitsyn focuses on John Travolta in Grease and Blow Out. . . . A cross-genre work to consume without restraint." — Tina Magazine, France
"This is a vibrant collection that uses all of the mediums available to it to tell its vigorous tale. The contributors here pull out all the literary stops: poetry, fiction, essay: you name it. At the heart of things, though, there is a philosophical question at play here. 'Thus, the genre of assemblage and insertion, fictions about fictions, fiction from fictions, or more specifically, fictions affixed and inserted into already existing fictions . . . might be an interesting and useful way to describe what the writers in this collection are doing.' . . . A thoughtful exploration on the art and the influence of film."
— David Middleton
The Black Sheep Dances
"Life As We Show It is a unique collection of essays, imagined scripts, and personal reflections by more than 20 writers on how film has shaped much of their lives and their opinions. Not all of the cited films are blockbusters, and the influential titles are not meant to gather a 'best of' collection like you'd find on A&E. Rather, these movies are personal touchstones, relevant in ways that are unique and sometimes perplexing."
—Amy E. Henry
"Life as We Show It is everything that being published by City Lights suggest it will be: a diverse range of voices from New Queer (mainly West Coast) writing, including fan favourites Dodie Bellamy, Kevin Killian, Rebecca Brown, Lynne Tillman, Robert Glück, David Trinidad and Abdekkah Taïa. . . The finest pieces in the book – by Bellamy, Killian, Brown, Taïa and poet Fanny Howe – step beyond that Gen X campness, practised to the highest order in a sonata pathetique on Elizabeth Taylor by Wayne Koestenbaum. . . Not so much Life as We Show It as Cinema as It Shows Us." —Sophie Mayer
". . . this isn't just a book on film and feelings, it's actually kind of haunting in strange and lingering ways, like a silent, but heavy presence in the room. . . It's all very surreal, and equally disconcerting and concrete. The pieces move like scenes and vignettes themselves, flickering and shimmering in the dark, shining in and out until one can almost hear the lead frames of the film monotonically whipping against the takeup reel in an otherwise silent room." —Michael Louis
"Life as We Show It, an anthology of essays, screenplays, and stories about watching movies. . . has the virtue of not treating life and cinema as obvious antagonists. . . One of the pleasures of this collection is that writing about movie viewing produces a cheerful and salutary indifference to conventional judgements of a film's 'importance'. . . 'Phone Home,' [is] Dodie Bellamy's story of her preoccupation with E.T. when her mother was dying of lung cancer. To watch as cinema’s most famous stranded alien becomes by turns a figure for the narrator’s alienation from her mother’s body through illness and age, the alienation of the able bodied from boys like Matthew De Meritt, the boy with no legs who helped bring E.T. to life by walking on his hands, and finally an opportunity to reflect on what alien technologies like cinema can do to repair these rifts—is to have one’s own ideas about how and why films matter to us completely and productively overturned. " —Nicola Evans