Lynne Tillman

  • Courtly Love

    In film, no long shot is more iconic, precise in its intention, disturbing, and startling than Alfred Hitchcock’s of a tennis match in Strangers on a Train. The camera looks at the crowd looking intently at a game in action; the crowd mirrors the audience watching the film (the meta Hitchcock loves). In a full grandstand, multiple heads move left, right, left, right, back again, synchronized, following the ball like cats do a swinging object. But only one head, among so many, remains absolutely still, staring straight ahead at the camera. It is that of the malicious mastermind, played by Robert

  • Double Jeopardy

    ANNUS HORRIBILIS 2016 suits the appearance of The People v. O.J. Simpson, a ten-part miniseries. It reinvents, but doesn’t reenact, what some called the trial of the century, O.J.’s racially and sexually controversial trial.

    Attitudes and reactions don’t happen in a void; the past is also present. In 1991, Rodney King suffered a vicious beating by LA cops. Even with a video showing King being assaulted, the cops were acquitted. A conflagration of protest, rage, and despair broke out. In June 1994, football hero Orenthal James Simpson “allegedly” murdered his ex-wife, Nicole Brown, and her

  • Speak, Memories

    “THE ONLY REASON for the existence of a novel is that it does compete with life”—thus spake the Master, Henry James.

    Memoirs are different from novels, since they don’t, supposedly, compete with life but are apposite to it, augmenting it interpretively. They are based on experience, and experience needs examination and reflection. The uncommon memoirist presents actualities honestly and imaginatively. To be honest doesn’t require unfailing accuracy, since memory and POV intrude upon reminiscing. Honesty avoids deliberate falsehoods. Honesty means the writer will not be self-serving, not always