(Roughly) Daily

Posts Tagged ‘storytelling

“I am sorry I have not learned to play at cards. It is very useful in life: it generates kindness and consolidates society.”*…

Day after tomorrow– this this Wednesday, the 27th– Sotheby’s will be auctioning the late, great Ricky Jay’s remarkable collection of magic publications and artifacts…

… You have the rare opportunity to get your hands on a complete guide to the base practices of highwaymen, sharpers, swindlers, money-droppers, duffers, setters, mock-auctions, quacks, bawds, jilts, etc. in eighteenth-century London. 

That text is part of The Ricky Jay Collection, perhaps the world’s greatest assemblage of books on magic, deception, and trickery. As detailed in this enjoyable New York Times report, the Sotheby’s sale is a cornucopia of oddities from the late conjurer.

What’s really for sale — beyond the Houdini posters, guides to card tricks, and beautiful landscapes painted by armless entertainers — is the source material for Ricky Jay’s storytelling.

Jay (1946-2018) was, by all accounts, one of the world’s greatest practitioners of legerdemain, a word that literally translates as light of hand [see here for its amusing etymology]. In other words, he did card tricks. But not just any card tricks: His 1977 book Cards As Weapons (available for free here!) begins with a letter to the Secretary of Defense explaining just how valuable his skills might be:

Drawing on techniques developed hundreds of years ago by ‘ninja’ assassins, I have developed my own system of self-defence based solely on a pack of cards,” he wrote. “I believe I have discovered a viable method of reducing the defence budget while keeping a few steps ahead of the Russkies.”

And Jay could indeed pierce the skin of a watermelon with a playing card from across a room. But when you came right down to what he did with his 52 assistants, the man was famous for moving pieces of waxed paper around on a table. The gulf between collating stationery and  “the theatrical representation of the defiance of natural law” was filled by his deep knowledge and ready wit.

One of his signature tricks was The Four Queens, in which the waxed rectangles with the Qs in their corners are blended into the pack and need to be reunited. Or as Jay framed it, “I have taken advantage of these tenderly nurtured and unsophisticated young ladies by placing them in positions extremely galling to their aristocratic sensibilities.”

You can really see the storytelling taking shape here in his Sword of Vengeance trick. What do shogun assassins have to do with cards? That’s exactly what you forget to ask until it’s too late:

Jay’s ability to unspool a story was clearly infectious, as his profilers couldn’t resist taking flights of erudition.

“He’s like someone carving scrimshaw while surrounded by Macy’s Thanksgiving Day dirigibles,” wrote Tom Carson in Grantland.

“His patter was voluble, embroidered with orotund, baroque locutions; he would describe the watermelon rind, for instance, as the ‘thick pachydermatous outer melon layer’,” wrote Mark Singer in The New Yorker.

To include him in the pantheon of Great Wits is to recognize why he amassed The Ricky Jay Collection and what he learned from it. The shaggy dog story, as previously detailed in GWQ #101, is a psychological non-sequitur: You follow it at great length to eventually learn it goes nowhere. But in Ricky Jay’s dexterous hands, the story was an ideal way to distract you from his dexterous hands. His words were how he could really transport the audience into a world of wonders. It’s as if he harnessed the shaggy dogs and mushed them through the Iditarod… 

The wit that powered the tricks: “Ricky Jay’s slight of tongue,” from Benjamin Errett (@benjaminerrett)

* Samuel Johnson

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As we riffle and cut, we might send accomplished birthday greetings to Marion Eileen Ross; she was born on this date in 1928. An actress with a long history in film (e.g., The Glenn Miller Story, Sabrina, Lust for Life, Teacher’s Pet, Some Came Running, and Operation Petticoat), she is best remembered for her role as Marion Cunningham on the sitcom Happy Days, on which she starred from 1974 to 1984 and for which she received two Primetime Emmy Award nominations. (That said, your correspondent will always remember her for her remarkable performances as Grandma SquarePants in SpongeBob SquarePants.)

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“It’s like you watching a home movie of you watching TV”*…

Feeling fractal…

Welcome to Nestflix

The platform for your favorite nested films and shows.

Fictional movies within movies? Got ‘em. Fake shows within shows? You bet. Browse our selection of over 400 stories within stories…

Nestflix!

Homer: Wait a minute. You’re telling Moe’s story in Burns’ story in your story?

Lisa: Yes, dad. It’s like a play inside of a play, like Hamlet. [Homer is puzzled.] Fine, it’s like you watching a home movie of you watching TV.

Homer: [understanding] Oh yeah.

“The Seemingly Never-Ending Story”, The Simpsons

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As we put the “mmm” in “meta,” we might recall that it was on this date in 1975 that The Rocky Horror Picture Show opened at the Rialto Theatre in London (it premiered in the U.S, at the UA Westwood in Los Angeles, on September 26). Still in limited release forty-six years after its opening, it is the longest-running theatrical release in film history.

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“Storytelling reveals meaning without committing the error of defining it…”*

Today we revisit James– “DawnPaladin” on Deviant Art— and his handy reference for readers, viewers, and listeners: The Periodic Table of Storytelling.

Click here for James’ explanation, again on the image there for a larger version; and click here for the source material at our old friends TV Tropes… which has been materially updated/expanded since our last visit.

* Hannah Arendt

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As we prepare to tell tantalizing tales, we might send pious but modern birthday greetings to Laurence Sterne; he was born on this date in 1713.  An Anglican clergyman known in his own time for his published sermons and memoirs, Sterne is surely best remembered these days for his novel The Life and Opinions of Tristram Shandy, Gentleman.  

Tristram Shandy was roughly received in England on its publication.  It parodies accepted narrative form, playing with narrative time and voice, and includes a healthy dose of “bawdy” humor– which led to its being largely dismissed by the likes of Samuel Johnson as being too corrupt.  But it was a hit on the Continent; indeed, Voltaire declared it “clearly superior to Rabelais.”  That said, Sterne’s real influence had a longer fuse.  As Italo Calvino observed, Tristram Shandy is the “undoubted progenitor of all avant-garde novels of our century,” one that, in its challenges to the formal concept of the novel, had powerful influence on Modernist writers like James Joyce and Virginia Woolf, and more contemporary writers like Thomas Pynchon and David Foster Wallace.

Joshua Reynolds’ portrait of Sterne (1760)

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Written by (Roughly) Daily

November 24, 2013 at 1:01 am

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