So let me bore you silly and tell you that I’m currently re-reading Joseph Conrad’s slim epic “Heart of Darkness,” a smidge more than 100 pages of nightmarish adventure up the African Congo, rife with colonial violence and brushes with death, and co-starring a renegade colonist named Kurtz who’s apparently gone mad in the jungle.
It’s been decades since I’ve read the classic novella, which of course inspired Francis Ford Coppola’s Vietnam phantasmagoria “Apocalypse Now,” back when ELO and C-3PO held cultural sway. And it felt about right for a revisit, don’t ask me why.
(No, ask away. Okay, I needed a shortish book to hold me over while I wait for a copy of the new Michael Cimino biography. A mysterious figure, Cimino directed the Oscar-winning Vietnam drama “The Deer Hunter” and the catastrophic flop “Heaven’s Gate,” both right about the time of ELO and C-3PO.)
Before re-picking up “Heart of Darkness” only yesterday, I was hopscotching between three books: Tove Ditlevsen’s mesmeric memoir “The Copenhagen Trilogy”; humorist Lindy West’s caustic movie reviews, “Shit, Actually”; and cartoonist Roz Chast’s lauded memoir “Can’t We Talk About Something More Pleasant?”
Ditlevsen’s “Trilogy” bundles three smallish memoirs — “Childhood,” “Youth” and “Dependency” — in a single volume, and the cumulative effect is powerfully poignant. She traces her life in the 1930s and ‘40s, from about age 6, when her interest in poetry flowered, to her twenties, as a young mother and successful author addicted to painkillers. The prose is clean and unflinching and recalls the transfixing autofiction of Elena Ferrante and Karl Ove Knausgaard.
Lindy West is the opposite of Ditlevsen — tart, messy, sophomoric, fueled entirely by pop culture punch. Her rambunctious movie reviews aren’t primly unfurled; they’re yelled in a neon hailstorm. Mainly they’re plot synopses with running commentary festooned in ALL CAPS, promiscuous italics and serial exclamation points (because they’re funny in bulk!!!!!). It really is like she’s yelling at us.
She LOVES!!!! 1993’s “The Fugitive” and rates movies — from “Face/Off” (a misunderstood masterpiece she direly underestimates) to “Harry Potter” — on how they stack up to the Harrison Ford thriller.
“‘The Fugitive’ is the only good movie. We didn’t need any more movies after ‘The Fugitive,’” she gushes. “We don’t need any movies before it either. We should erase those.”
That would be funny if it wasn’t so wrong. I’ve always thought “The Fugitive” was one of the most overrated movies of the ‘90s. But she’s obviously exaggerating for comic flash and bratty button pushing (right?). I’ll give her this: The title of this book, “Shit, Actually,” is also the title of her scorched-earth review of the barfy, saccharine rom-com “Love, Actually.” Good show.
Yet ultimately West is so insincere and strenuously flip that you can’t tell what she really likes or loathes for all the jokiness. She’s a little Andrew Dice Clay-esque — it’s hard to tell where schtick ends and truth begins.
You’d know these characters anywhere: the nervously quivering bodies, gaping grimaces, dark rings around the eyes, skinny arms and big heads. Roz Chast draws consummate depictions of raw, buzzing angst — humanly and hilariously — with squiggly lines that look like she has a bad case of the shakes. Why’s she so rattled?
Well, life to begin with. That’ll do it. But in her 2014 memoir “Can’t We Talk About Something More Pleasant?,” Chast, the longtime New Yorker cartoonist, tackles the dreaded situation of “an only child watching her parents age well into their nineties and die.” Oof. Grim.
And funny. Because it’s true. Chast, for all her squirms and squiggles, draws and writes with unvarnished precision about the tragicomedy of becoming your parents’ caregivers, when the roles reverse. You could say she goes straight into the heart of darkness, and finds bittersweet laughs.