Month: December 2009

Jonathan Lethem:

Well, just as critical theory, critique, tips into paranoia — finding patterns that don’t exist — collecting can cross that line from being the quest for value into being the quest for the subterranean, impossible artifact that will somehow validate all of your existence … You know, I used to know, I still do know, a lot of [Bob] Dylan collectors, and he’s begun demystifying a lot of the secrets by issuing them himself, but these things used to circulate as talismanic objects. And there was always the myth of the song that was even better, the musician who’d come out of some session and say, “Well, yeah sure, you heard ‘Blind Willie McTell’ because you’ve got a tape of it, but there was another song that he debuted in the studio that day that was never written down and we all begged him to play it again and he never did.” And it’s sort of like, “Well, if that song’s even better than ‘Blind Willie McTell,’ then what about the song that Dylan wrote but didn’t play that day, or what about the song that Dylan never even wrote! That might be the best one!” It’s a path of madness, and certainly I wanted to portray that terrifying descent to some extent.

Mad Men prop master Scott Buckwald:

But again, it’s a TV show, and it portrays advertising executives the way the producer wants them to portray them. I’m sure there are many advertising executives who’d go, “I was nothing like that. I would never chase women around the office,” and “I would never consider having an affair.” So that’s why I said earlier that it’s is a TV show, not a history lesson.

If you want to learn about advertising in 1960, watching Mad Men might be an okay primer. If I had to write a college thesis on 1960 advertising, Mad Men would be a footnote. I would watch it, look at it, get a little bit of flavor from it, and then do my real research.

Abigail Nussbaum:

A historical novel, in other words, is one that requires its author not simply to recall the past, but to study and imagine it, to create a believable world whose mores, customs, settings and technology are as foreign to them as they are to the readers–to worldbuild, in other words. And as in science fiction, worldbuilding in a historical novel reflects as much on the present as it does on the past, in much the same way that costumes in period films tell us more about fashion at the time they were made than at the time they purport to depict (remember Doc Brown in Back to the Future III, sending Marty to 1885 in a pink, tasseled shirt and purple pants because that’s how people dress in Westerns?).