#dc comics#dc#batman#bruce wayne#dick grayson#tim drake#batfamily#batfam#dc fanart
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@a-blue-hoodie @ bs translations
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allieinarden replied to your post: allieinarden replied to your post: allieinarden...
Reading the correspondences, the second letter is totally the banker from before writing in again to say that you can’t just join a bank after getting expelled. (Jellicoe wouldn’t know that, though, and Psmith gets in due to special circumstances.)
Besides, Psmith did finish school at Sedleigh, so it's not like he dropped out. He could get a letter of recommendation from that Head even if the Eton one wouldn't be as flattering.
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The depiction of the bank in “Jackson Junior” probably didn’t thrill that demographic either. (Though the line about bank clerks being “a good sporting lot of fellows” reminds me of Mike’s feelings towards his fellow inmates at the bank.)
Which might have been emphasized after the reaction to Jellicoe's dread of going to a bank.
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I think it’s funny that someone was already complaining about Wodehouse’s depiction of banks before he wrote a whole novel where the happy ending involves a daring escape from the bank. That’ll show ‘em.
Al that criticism, and they fail to realize that the man WORKED IN AN ACTUAL BANK.
And there's only so far you can try to please the critics before you just give up and thumb your nose at them.
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I’ve never seen so many grumpy bankers in one place.
Ah, a dismal lot, the ambassadors of Commerce. But if the depiction of the bank in City is to be believed (which apparently it cannot), one can understand why.
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They’ve got a photo of T.M.R. Whitwell! And he’s got quite an impressive ‘stache.
The man is no longer quite so mysterious! And facial hair was serious business back then. Some of the other contributors seems to be competing too.
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I’m idiotically excited. Trying to read them all slowly.
Me too.
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Possibly the coolest part of this is watching Psmith—and Wodehouse by extension—gain a following! It really happened as suddenly as has been said. No wonder they gave him a raise.
It's a fascinating look into how fandoms operated back then and to that audience. (In some respects little has changed; there are always the nitpickers.)
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As regards "Jackson Junior," it seems to me that the character who stands out most favourably in this story is Bob Jackson, Mike's elder brother. Bob has to play a very difficult part, for it is never pleasant for an elder brother to see a younger member of his family proving himself to be a better man than himself. A fellow would not be human if he did not experience a few pangs of jealousy in such circumstances. And yet dear old Bob is a sportsman throughout, recognizing that Mike is a better bat, and bound in the long run to leave him far behind. There is nothing much the matter with Mike, save that, bar his cricket, he strikes me as being a somewhat colourless youth. The one unsporting character in the story--for even the "Gazeka" has his good points--is Marjory, the sister of Bob and Mike. To repeat in a letter a conversation which she was not meant to hear was bad enough, but it was a despicable thing on her part to tell Bob how Mike had secured for his brother the vacant place in the eleven. Mr. Wodehouse was in my office the other day, and I went to the length of explaining to him my views about Marjory Jackson. He did not seem to agree with me. "Girls," he said, "don't look at things like this in the same way. They simply want their man to win and don't much care how it's managed, so long as he does it." I must say that I am not with Mr. Wodehouse there. Would a girl-member of such a sporting family write such a letter? However, all this shows that there is much in the tale which is very interesting. The story flows on so evenly that it is possible that the casual reader may not have noticed how cleverly Mr. Wodehouse manipulates the various twists and turns which led to Mike's playing in the eleven, in spite of the fact that young Jackson was only a junior. First one thing and then another crops up to let him in, and the author is to be congratulated on his competent handling of all these events. Like Mr. Hayens, Mr. Wodehouse is engaged on another CAPTAIN serial, which you may look for with the blooming of the April flowers.
Editorial comments on Wodehouse's Jackson Junior (later Mike at Wrykyn), in The Captain, September 1907.
A sort of early fan reaction. The admiration for Bob (and Gazeka!) is surprising, as is the fact that Wyatt is never mentioned. Poor Mike is already saddled with the "boring" label after only one book. And the denunciation of Marjory is rather harsh, but then this is an Edwardian boys' magazine and being "sporting" was next to godliness for that audience. If that conversation with Wodehouse really happened, it is certainly in keeping with his ability to portray female characters with as much variety and sympathy as the male.
the rescuers...
So, it seems to me that a fair amount of the lyrics on After the Disco reference relationships where one person tries to 'save' another.
The lost girl with the heart of gold, the beauty that no one else can see, etc. is a common theme in fiction going pretty much alllll the way back. And likewise the restless bachelor who just needs to be redeemed by the love of one good woman is the plot of every Harlequin novel and rom-com ever, and a lot of serious fiction too.
Of course, it's a lovely thing to want to help someone, or to appreciate the under-appreciated qualities in a person. But so many of those stories seem to resolve with the rescued person basically submitting to the rescuer, embracing their 'redemption'-- happily ever after the end. And that, I don't think, augurs well in real life.
I think it's a compelling romantic idea because how reassuring it must be to feel like the object of your affection owes you loyalty for all you've done for them. You don't have to worry about them leaving you or losing interest in you because you're their salvation.
But, obviously, it's not necessarily ideal for the rescued party. They might rebel, or their light may eventually dim and fade under the weight of their rescuer's dominant personality.
I like what the novelist Iris Murdoch said (paraphrasing)...that one should never commit to marriage until both parties can't believe their luck.
A relationship where both people look at the other like they just won the lottery is bound to be a fun ride, I think.
So P4K hated the shit out of After the Disco. But I'm not convinced it matters. They've been doing rave reviews of Black Metal records and shit like that recently and of course they were waaaaay on the wrong side of the whole R. Kelly thing. The review itself is so over the top it's an unintentional parody of an asshole music writer having a hategasm.
Does anyone really base their purchases on their endorsement anymore? Do they influence where bands get booked or invited? I don't think they're a fraction as relevant as they think they are/used to be. They're in the midst of a big identity crisis, it seems.
The think piece that no one dares to write: Pitchfork only likes black artists that conform to the (negative) stereotypes they like to 'ironically' endorse.
tl;dr : P4K writers think they're Lester Bangs but they're just the Andrew Dice Clay of music nerds.
