AV Club recently asked their staff writers and regular readers an interesting question: What’s the Non-2013 pop culture you discovered this year? Well, that got me to thinking because 2013 was a pretty unique year for me in (re)discovering some great non-2013 pop cultural artifacts. I thought I’d take the time and share some of them with you.
I am Cuba (Yo Soy Cuba)
When Turner Classic Movies aired this classic piece of Soviet/Cuban agit-prop back in September, I was in awe. I’d read about how revolutionary this film was, but I had no idea just how much, so watching it for the first time was a revelation. From the beautiful B&W cinematography to the narration, everything in this film is like a prose poem rich with imagery and music. Told in four separate stories, I Am Cuba takes place just before the Cuban Revolution, and, sparingly, though nonetheless sympathetically, tells the stories of four different people––a young kept woman living in Havana, a revolutionary student, a sugarcane farmer, and a man who joins the revolution after his family is killed. But the real star of the film, of course, is its cinematography. The scene in which a camera soars out of a window and over the city streets as it follows a funeral procession is nothing short of amazing. The dizzying camera movements bring you so fully and so completely into the film that the fourth wall breaks down and you are one with the sights, sounds, smells, and, most importantly, people of Cuba.
Forever Changes, by Love
I’d known for a while now about the 1960s rock band Love, headed by singer/songwriter Arthur Lee, a friend and contemporary of Jimi Hendrix’s, but 2013 was the year I discovered their seminal album Forever Changes. Released in 1968, Forever Changes is very much of its time––L.A. acid rock with off-beat, but deeply inspirational lyrics––yet it has a meditative allure that transcends time. I listened to this album almost non-stop over last summer, its songs, such as the majestic “You Set the Scene,” growing on me with each listen.
Mr. Fox, by Helen Oyeyemi
2013 was the year I first heard of Helen Oyeyemi, even though her first novel was published in 2005. Born in Nigeria but raised in Britain, this young writer has quickly made a name for herself in the literary world with novels like White is for Witching, Icarus Girl, and Mr. Fox (2011). Her stories are both literary and fantastic, emotionally resonant yet whimsical. Mr. Fox, for instance, is about a writer, St. John Fox, his imaginary muse, Mary Foxe, and his wife, Daphne. The entire novel is a storytelling competition between Fox and his muse, Mary Foxe, as they deal with the control each has over the other. Oyeyemi’s prose is deceptively simple, belying the density of thought and care in each sentence, but creates a world that is unlike anything I’ve ever read before.
I first saw David Lynch’s Twin Peaks during its original run in 1990, but it wasn’t until I re-watched the entire series on Netflix over the summer that I really came to appreciate it (I was honestly surprised by what I’d forgotten and what I might have missed out on the first go-round). While fans and critics alike mention its weirdness, its cinematic quality, both in cinematography and music, as well as the murder mystery at the heart of the series––Who Killed Laura Palmer?––what struck me during this re-watch was how honestly it portrayed grief. Few TV series or films examine how absurd the bereavement period can be: One moment you’re singing and tapping dancing as if you’re on top of the world and the next you’re in a blubbering heap of tears. As someone who’s lost her sister nearly ten years ago, I can relate. After the networks pushed Lynch and producer Mark Frost to solve Laura Palmer’s murder during its second season (they had originally intended for it to remain unsolved), the show lost its way and veered wildly into territory that was both wacky (and not in a good way) and ridiculous (one storyline involved industrialist Ben Horne having a nervous breakdown and thinking he’s Jefferson Davis during the Civil War). But the series’ finale, directed by Lynch, more than redeemed itself with one of the most bizarre and freaky episodes to ever appear on TV. Twin Peaks was definitely ahead of its time!