Books like Sculpting in Time

Nancy Lemann is one of the treasures of contemporary American literature and I re-read many passages in this book out loud to my wife, out of amusement and as a sort of personal honorific. Honestly, I found myself reading much of this book out loud, even alone, as does the Southern lilt of her writing punch through the page.

But that merely surprised me. The story is engrossing on both levels–micro/macro in the common parlance. A lot of writers drop hints about how to do what they are doing right into the text of their work. Tolstoy, for one, is very clear about this if we’re paying attention–specifically in Anna Karenina. There’s plenty of that here. Also see her recent story published in the Paris Review. It’s like a green book for great writing.

So, first things first with this list of recommendations to unlock your creativity: you got to get yourself out of the way. There’s no better way to do this than acquainting yourself with Sufism, even on an introductory level.

I am very close friends with the pre-eminent American translator of the 13th-century Sufi poet Jalal al-Dīn Rumi, and it still took me many years to get to this book. Maybe everything happens at the right time, but you still need to settle with yourself to get any ball rolling, especially the powerful tool of your own creativity–the only medicine, the single refuge. 

Once you’ve opened yourself up, gotten a few instructions and are reminded that nothing is holding you back, you’re ready to connect with your own internal mechanisms. Hillman re-positions psychology in the context of soul-making, where it makes most sense and is most useful for us.

We get hung up on so many things, and Hillman fearlessly wades into every one of them with great intention. I think Hillman is one of the smartest, most perceptively radical writers not named Jung, and this book grapples with the uneasy humility that is creative work: your own soul-making.

Know your audience? I’m kidding—never condescend; there’s nothing to be gained. Leave the smug cleverness to the Gladwells and Pinkers; we’re seeking higher ground here. What is culture? Don’t act like you don’t want to talk about it – or the stakes. This is THE TALK we actually need to have.

We have an affinity for our own habits, and Bourdieu walks us through them using the socially innocent language of likes and dislikes. His is a very straightforward discussion of experiences and social conditions that you didn’t know you needed. How do tastes vary, and why? Hmmmm.

This book initiated my interest in narrative film theory back in my graduate school days. It became a crucial source for my dissertation.

Bordwell writes about popular films but with a highly analytical eye. All his books are worth reading for those who want intelligent, in-depth discussion, not just stories about Hollywood culture. 

There is no better or more incisive scholar writing on American historical films today than Robert Burgoyne.

Making use of both social and film theory, his books, including this latest one, are elegantly written and sharply focused. Less interested in its historicity than in the way a film reflects the shifting values of our rapidly changing society, this book analyzes nine works made during this century, including important films such as Zero Dark Thirty, American Sniper, and The Hurt Locker.

Among many insights the work contains, the most important is that the changing nature of warfare exhibited in our recent “partial” conflicts has been a major factor in helping to reshape American notions of both war and those who defend us.

This short but very informative and stimulating book in the BFI Film Classics series was first published in 2009, with a new edition coming out in 2020.

Brilliantly illustrated with screenshots from Star Wars and some of the films George Lucas’s most famous production was influenced by, Will Brooker combines a meticulous analysis of the style, story, and themes of Star Wars with important details about the film’s production history and illuminating references to Lucas’s previous films and to the Star Wars saga as a whole.

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

Kracauer was a German film critic in the Weimar years. This classic text, first published in 1947, relates the crisis of German culture in the 1920s and 1930s–which climaxed in Hitler and Nazism–to famous Weimar films, like The Cabinet of Dr. Caligari, and M. Kracauer’s effort to track Germany’s cultural zeitgeist in the movies. This relation is not without controversy.

His book remains a fine example of the struggle to see mass psychology in the movies and the movies in the context of mass psychology. 

As Hollywood’s Golden Age sputtered to a close and the old studio behemoths collapsed, United Artists became the Little Studio That Still Could, thanks largely to the discerning eye and risk-taking appetite of David Picker, its young head of marketing and production. Under his leadership, UA made deals that snagged the James Bond series, the Beatles’ two feature films, and Woody Allen’s best movies. Picker’s formula was simple—sign the most intriguing filmmakers in America and Europe to low-budget, one-movie contracts and then leave them alone to do their finest work. Picker praises his pals and lacerates his foes, including Robert Altman, Otto Preminger, and most especially Bill Cosby, whom he despised long before the sexual assault allegations. Anyone recall Cosby’s woeful Leonard Part 6?