Project and content management for Contemporary Authors volumes
WORK TITLE: Vanishing Streets
WORK NOTES:
PSEUDONYM(S): Tyree, Joshua M.
BIRTHDATE:
WEBSITE:
CITY:
STATE:
COUNTRY:
NATIONALITY: American
http://www.sup.org/books/title/?id=27598 * http://www.nereview.com/j-m-tyree/
RESEARCHER NOTES:
LC control no.:
no2007131676
LCCN Permalink:
https://lccn.loc.gov/no2007131676
HEADING:
Tyree, J. M. (Joshua M.)
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__ |a The Big Lebowski, 2007: |b t.p. (J.M. Tyree) p. 4 of cover (a Wallace Stegner Fellow in Fiction at Stanford University)
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__ |a Stanford University directory, Oct. 29, 2007 |b (Joshua M. Tyree, English Dept.)
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__ |a Stanford University Press website, April 27, 2016 |b (J. M. Tyree is the Nonfiction Editor of New England Review and the coauthor of Our Secret Life in the Movies (with Michael McGriff). He has contributed to Sight & Sound, The Believer, Film Quarterly, and the British Film Institute’s Film Classics series of books. He currently teaches as Distinguished Visiting Professor at VCUarts.)
PERSONAL
Male.
EDUCATION:Middlebury College, graduated, 1995; University of Cambridge, M.Phil.
ADDRESS
CAREER
Writer, editor, educator. New England Review, nonfiction editor, 2015-; Virginia Commonwealth University School of the Arts, Richmond, VA, distinguished visiting professor in art history and cinema. Formerly a Jones Lecturer in fiction, Stanford University, Stanford, CA. Has lectured on film at London’s National Theatre, the Cleveland Cinematheque, and the National Gallery of Art in Washington, D.C.
AWARDS:
Keasbey Scholar, Trinity College, Cambridge University; Wallace Stegner-Truman Capote Fellow, Stanford University; NPR Best Book of 2014, for Our Secret Life in the Movies.
WRITINGS
Has contributed to periodicals, including Sight & Sound, Believer, Film Quarterly, Critical Quarterly, Lapham’s Quarterly, Nation, and the Guardian (London, England). Has published short stories in McSweeney’s, Blackbird, American Short Fiction, and The Silent History.
SIDELIGHTS
Writer and educator J.M. Tyree is a nonfiction editor at the New England Review and a distinguished visiting professor in art history and cinema at Virginia Commonwealth University School of the Arts in Richmond. Tyree graduated from Middlebury College in Vermont in 1995 and went on to earn an M.Phil. from Cambridge University in England, where he was a Keasbey Scholar at Trinity College. He also has been a Wallace Stegner-Truman Capote Fellow and a Jones Lecturer in fiction at Stanford University’s Creative Writing Program.
Tyree has authored several works on film and film theory, among them two books in the BFI “Film Classics” series—The Big Lebowski (written with Ben Walters) and Salesman. He has contributed articles to various periodicals, including Sight & Sound, Believer, Film Quarterly, Critical Quarterly, Lapham’s Quarterly, Nation, and the Guardian, and he has lectured on film at London’s National Theatre, the Cleveland Cinematheque, and the National Gallery of Art in Washington, D.C. His short stories have appeared in McSweeney’s, Blackbird, American Short Fiction, and The Silent History (a novel written and designed for the iPad and iPhone).
Our Secret Lives
Tyree and coauthor Michael McGriff released Our Secret Life in the Movies in 2014. To write the book, the authors first watched, over the course of a year, all the films in the Criterion Collection, which comprises classic and contemporary films from around the world. Then they sat down to write short stories connected to thirty-nine of their favorites. Tyree explained the method in an article at Paris Review: “We tried to design this book so it could be read from cover to cover like a fragmented novel—and the reader wouldn’t need to know the movies to read the book. Sometimes the connections between the stories and the movies are very loose, just an outlandish What If? provoked by a single image.”
Heather Scott Partington, writing online at Electric Lit, called the result “unique and intimate” She commented that the “duality of side-by-side chapters allows for a kind of cross-pollination that’s different than what an author can accomplish in a single, linear narrative.” Our Secret Life in the Movies, added Partington, “is work seeded in another artistic realm, one that has something entirely unique to say, artful in its own right.” A reviewer for Publishers Weekly thought that the movies selected by the coauthors are “eclectic but largely obscure,” claiming that only four of them would be considered mainstream, along with several cult films like Donny Darko and Jesus’s Son. Writing in in ForeWord, Kristine Morris, described the book as a “‘twinned narrative,’ more experimental than autobiographical, a kind of call-and-response playing with the material” that suggests that “our own lives could be the movie.”
Vanishing Streets
In Vanishing Streets: Journeys in London, Tyree explores the city that he came to love when he attended college in England. In this unique travelogue (accompanied by photographs), he takes an almost filmic view of London. The book grew out of the Tyree’s original plan to write about the Free Cinema documentary-film movement that developed in England in the 1950s. As Tyree explains in the book, “The book quickly spiraled out of control into a highly personal project that includes my autobiography and my photography as well as my notes on traveling to film-related and literary locations in London.”
Louise Feldmann, reviewing the book for Library Journal, found Tyree’s vantage point “an intriguing lens through which to view London” and pronounced the book “an engaging read.” A reviewer for Publishers Weekly observed that the “lyrical prose is distinctly cinematic” and results in “a fresh portrait of London and an intriguing travelogue.”
BIOCRIT
PERIODICALS
Cineaste, winter, 2010, Robert Sklar, “The Year’s Work in Lebowski Studies,” p. 68.
ForeWord, November 27, 2014, Kristine Morris, review of Our Secret Life in the Movies.
Library Journal, September 1, 2016, Louise Feldmann, review of Vanishing Streets, p. 129.
Publishers Weekly, September 22, 2014, review of Our Secret Life in the Movies, p. 47; August 1, 2016, review of Vanishing Streets, p. 57
ONLINE
Electric Lit, https://electricliterature.com/ (December 1, 2014), Heather Scott Partington, review of Our Secret Life in the Movies.
New England Review, http://www.nereview.com/ (May 14, 2017), short profile.
Paris Review, https://www.theparisreview.org/ (November 4, 2014), Michael McGriff and J.M. Tyree, “A Conversation about Our Secret Life in the Movies.“
Stanford University Press Website, http://www.sup.org/ (May 14, 2017), publisher’s information page for Vanishing Streets.*
General Interest
Literature / Biography, Memoir, and Letters
Cultural Studies
Cinema and Media Studies
Vanishing Streets reveals an American writer's twenty-year love affair with London. Beguiling and idiosyncratic, obsessive and wry, it offers an illustrated travelogue of the peripheries, retracing some of London's most curious locations. As J. M. Tyree wanders deliriously in "the world's most visited city," he rediscovers and reinvents places that have changed drastically since he was a student at Cambridge in the 1990s. Tyree stumbles into the ghosts of Alfred Hitchcock, Graham Greene, and the pioneers of the British Free Cinema Movement. He offers a new way of seeing familiar landmarks through the lens of film history, and reveals strange nooks and tiny oddities in out-of-the-way places, from a lost film by John Ford supposedly shot in Wapping to the beehives hidden in Tower Hamlets Cemetery, an area haunted by a translation error in W. G. Sebald's Austerlitz.
This book blends deeply personal writing with a foreigner's observations on a world capital experiencing an unsettling moment of transition. Vanishing Streets builds into an astonishing and innovative multi-layered project combining autobiography, movie madness, and postcard-like annotations on the magical properties of a great city. Tyree argues passionately for London as a cinematic dream city of perpetual fascinations and eccentricities, bridging the past and the present as well as the real and the imaginary.
About the author
J. M. Tyree is the Nonfiction Editor of New England Review and the coauthor of Our Secret Life in the Movies (with Michael McGriff). He has contributed to Sight & Sound, The Believer, Film Quarterly, and the British Film Institute's Film Classics series of books. He was a Keasbey Scholar at Trinity College, Cambridge, and a Truman Capote-Wallace Stegner Fellow and Jones Lecturer in Fiction at Stanford University. He currently teaches as Distinguished Visiting Professor at VCUarts.
J. M. Tyree is NER’s nonfiction editor as well as the author of Vanishing Streets: Journeys in London (Stanford University Press) and BFI Film Classics: Salesman (British Film Institute publishing and Palgrave/Macmillan), and coauthor of both Our Secret Life in the Movies (with Michael McGriff, A Strange Object) and BFI Film Classics: The Big Lebowski (BFI and Palgrave/Macmillan). Our Secret Life in the Movies was selected as an NPR Best Book of 2014. His writing on cinema has appeared in Sight & Sound, The Believer, and Film Quarterly, and he has spoken at London’s National Film Theatre and the National Gallery of Art in Washington, D.C.
Tyree was a Keasbey Scholar at Trinity College, Cambridge, and a Wallace Stegner-Truman Capote Fellow and Jones Lecturer in Stanford’s Creative Writing Program. He currently teaches at VCUarts as Distinguished Visiting Professor in Art History and Cinema. His Top 10 List of Documentaries appeared in Sight & Sound’s Greatest Documentaries Poll.
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Print Marked Items
Tyree, J.M.: Vanishing Streets: Journeys in London
Louise Feldmann
Library Journal.
141.14 (Sept. 1, 2016): p129. From Book Review Index Plus.
COPYRIGHT 2016 Library Journals, LLC. A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
http://www.libraryjournal.com/
Full Text:
Tyree, J.M. Vanishing Streets: Journeys in London. Redwood. Oct. 2016.152p. photos. ISBN 9781503600034. $25. TRAV
For visitors, the London of literature, history, and film is a bit disconnected with modern London and its quickly changing landscape. Tyree (nonfiction editor, New England Review; coauthor, Our Secret Life in the Movies) provides glimpses into his fascination and enthusiasm for the city and this disconnectedness. Tying together his love of exploring London, the 1950s British Free Cinema Movement, and his personal life, he takes readers on his journeys to discover bits and pieces of London. It's unclear what the author's overall point or intention is, and the book is difficult to categorize. Nonetheless, it's an engaging read, particularly when his expeditions around the city are paired with the locations portrayed in films from the cinema movement. VERDICT Tyree offers an intriguing lens through which to view London in this relatively short narrative. Readers with an interest in the history and the changing cityscape of London as well as British film will find this book of note.--Louise Feldmann, Colorado State Univ. Lib., Fort Collins
Source Citation (MLA 8th Edition)
Feldmann, Louise. "Tyree, J.M.: Vanishing Streets: Journeys in London." Library Journal, 1 Sept. 2016, p. 129.
PowerSearch, go.galegroup.com/ps/i.do? p=GPS&sw=w&u=schlager&v=2.1&id=GALE%7CA462044965&it=r&asid=a6babb3f9999fc009abdb4fe0877835e. Accessed 13 Apr. 2017.
Gale Document Number: GALE|A462044965
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Vanishing Streets: Journeys in London
Publishers Weekly.
263.31 (Aug. 1, 2016): p57. From Book Review Index Plus. COPYRIGHT 2016 PWxyz, LLC http://www.publishersweekly.com/
Full Text:
Vanishing Streets: Journeys in London
J.M. Tyree. Stanford Univ., $25 trade paper (152p) ISBN 978-1-5036-0003-4
Writer and film critic Tyree (coauthor of Our Secret Life in the Movies), who was born and raised in the U.S. and studied at Cambridge in the 1990s, guides readers through his favorite spots in London and his enamoured understanding of the city's nuances (filmic, sociopolitical, documentarian, and romantic). The book is divided into four sections, each composed of a variety of a variety of forms--essays, a suggested tour itinerary, a review of a 1929 book--to provide vivid scenes of suburbs, poetic reflections on historical ruins, and a rather detailed sketch of 21st- century London from an informed American's position. Tyree demonstrates that when individuals seek out the unfamiliar, follow curiosity, or place themselves in foreign contexts, they create perspectives that can transform the world and their own world-views. Tyree's personal and filmic experiences of London have shaped his intimate impression of the city into a complex adoration. Anglophile readers or those holding some familiarity with this world hub may find much to cherish, but some readers will struggle to follow Tyree's very specific references to neighborhoods and landmarks that are well beyond the typical tourist's experience of London. Tyree's lyrical prose is distinctly cinematic, describing sweeping landscapes interspersed with tight shots, close-ups, and all the drama and symbolism of character quests with director's commentary, resulting a fresh portrait of London and an intriguing travelogue. 30 halftones. (Oct.)
Source Citation (MLA 8th Edition)
"Vanishing Streets: Journeys in London." Publishers Weekly, 1 Aug. 2016, p. 57. PowerSearch,
go.galegroup.com/ps/i.do? p=GPS&sw=w&u=schlager&v=2.1&id=GALE%7CA460285712&it=r&asid=789ec40a4ac26ed0ac446e641656e1d3. Accessed 13 Apr. 2017.
Gale Document Number: GALE|A460285712
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Our Secret Life in the Movies
Kristine Morris
ForeWord.
(Nov. 27, 2014): From Book Review Index Plus. COPYRIGHT 2014 ForeWord http://www.forewordmagazine.com
Full Text:
Michael McGriff and J. M. Tyree; OUR SECRET LIFE IN THE MOVIES; A Strange Object (Fiction: Short Stories) 14.95 ISBN: 9780989275965
Byline: Kristine Morris
The decision to watch every film in the Criterion Collection -- hundreds of them drawn from cinema classics from all around the world -- in a single year led McGriff and Tyree, both published authors, to start writing about the films that had, to some degree, taken over their minds, filling them with powerful images and warping them slightly. The result is a "twinned narrative," more experimental than autobiographical, a kind of call-and-response playing with the material -- if one writer wrote under the inspiration of a film, the other would respond with his own story, like jazz players taking turns with their solos.
As the work grew, rules entered the picture: there had to be one story from each of them for each film, no one would know who wrote what, and the stories had to make sense to someone who had never seen the movies. The result is a collection of linked snapshots of the lives of two young men coming of age in the 1980s, in which the veil that's supposed to separate the real from the unreal thins and lifts. Our own lives could be the movie, they suggest -- and maybe they are.
Michael McGriff is a former Stegner Fellow and Jones Lecturer at Stanford University and a recipient of an NEA grant. J. M. Tyree is a former Truman Capote-Wallace Stegner Fellow in Fiction at Stanford and an associate editor of the New England Review.
Kristine Morris
Source Citation (MLA 8th Edition)
Morris, Kristine. "Our Secret Life in the Movies." ForeWord, 27 Nov. 2014. PowerSearch, go.galegroup.com/ps/i.do?
p=GPS&sw=w&u=schlager&v=2.1&id=GALE%7CA392056203&it=r&asid=5034ecc4342c1a4a0802ab6c181a0582. Accessed 13 Apr. 2017.
Gale Document Number: GALE|A392056203
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Our Secret Life in the Movies
Publishers Weekly.
261.38 (Sept. 22, 2014): p47. From Book Review Index Plus. COPYRIGHT 2014 PWxyz, LLC http://www.publishersweekly.com/
Full Text:
Our Secret Life in the Movies
Michael McGriff and J.M. Tyree. A Strange Object (www.astrangeobject.com), $14.95 trade paper (168p) ISBN 978- 0-9892759-6-5
McGriff and Tyree's collection of flash fiction has a concept that's sometimes too high, though it definitely has its upside. Both esteemed film scholars, they have selected 39 favorite films and each written very short stories inspired by them. The source material is eclectic but largely obscure. There are only four mainstream movies (among them On the Waterfront and Blade Runner), and a handful that could be described as cult (e.g., Donnie Darko, Jesus' Son); many of the rest will be unknown, even to avid filmgoers. Perhaps unintentionally, they've written an entertaining entry in the subgenre of "mustsee-films" books. "Sheets of Galaxies" by McGriff, about a teenage would-be astronaut, and "Thrown Rod, Cruel Stars" by Tyree, about people obsessed with conspiracy theories, are both vivid nuggets and, while they might leave the reader unsatisfied, could also prompt them to watch (or rewatch) "Intergalactic," the Beastie Boys music video that inspired them. So too the stories inspired by Jennifer Baichwal's Manufactured Landscapes and Carlos Saura's Cria Cuervos. With Michael Mann's Miami Vice as a starting point, McGriff imagines tough-kid antics, while Tyree tracks a young criminal in training; both are colorful and provocative in light of the source. Thus do movies prompt us to dream. Read the book with a pad and pencil, and make your own list. (Nov.)
Source Citation (MLA 8th Edition)
"Our Secret Life in the Movies." Publishers Weekly, 22 Sept. 2014, p. 47. PowerSearch, go.galegroup.com/ps/i.do?
p=GPS&sw=w&u=schlager&v=2.1&id=GALE%7CA383853849&it=r&asid=ace39daa06efa03b591968bc7555f862 Accessed 13 Apr. 2017.
Gale Document Number: GALE|A383853849
.
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The Year's Work in Lebowski Studies
Robert Sklar
Cineaste.
36.1 (Winter 2010): p68. From Book Review Index Plus. COPYRIGHT 2010 Cineaste Publishers, Inc. http://www.cineaste.com/
Full Text:
The Year's Work in Lebowski Studies Edited by Edward P. Comentale and Aaron Jaffe. Bloomington: Indiana University Press, 2009. 491 pp., illus. Paperback: $24.95.
[ILLUSTRATION OMITTED] The Big Lebowski
by J. M. Tyree and Ben Waiters. London: British Film Institute, 2007. 123 pp., illus. Distributed in the U.S. by Palgrave Macmillan. Paperback: $14.95.
[ILLUSTRATION OMITTED]
This review stems from indiscretion. Talking one day with Cineaste editors about the Brothers Coen, I rashly remarked, "I am a fan of The Big Lebowski." The next thing I knew these two books arrived in the mail for my
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learned commentary.
Truth be told, as a Lebowski fan I am a gnat among giants. I saw the film twice in theaters when it was originally released--surprised and amused, I went back a second time, and thought it held up very well--and have had fond memories ever since. But no, Senator McCarthy, I am not now and have never been a member of the Lebowski Cult. I have not attended Lebowski Fests in Louisville, Los Angeles, Las Vegas, Austin, Chicago, San Francisco, Seattle, or London, not even around the corner in New York. I have never dressed up as a marmot or a Malibu police chief. And, as an academic, I have not (until this moment) placed The Dude's name in the same sentence with top-drawer theorists like Adorno, Agamben, Bachelard, Bakhtin, Barthes, Baudrillard, Benjamin--you get the picture--on through the alphabet to Zizek.
Yes, the scholarly authors in The Year's Work in Lebowski Studies do more or less those very things--in their essays, in their costumes, in their Fest attendance--and my first impulse was to give the book one of Cineaste's typical critical thrashings. But I hesitate. One of the essays is credited to Allan Smithee, "an independent scholar based in Chicago." Every schoolchild knows that this name--more generally, Alan or Allen--is a pseudonym sometimes used by film directors and others when they want to remove their birth-certificate names off a project. I wonder if some of the other suspiciously bland Anglo-Saxon author names--Hall, Martin-Jones, Thompson, and so forth--may also be noms de plume. Maybe the entire book is a send-up, like the hoax Alan Sokol put over on Social Text, and trashing the book would just show me up as another easily conned dupe.
Anyway, there's no real reason to attack the book, unless one is prepared to take on the entire practice of media scholarship as we know it in our time. "No arid analyses or stuffy lectures here," Indiana University Press says in its publicity, "this collection is geared toward the late-night crowd and features new ways of thinking and writing about film culture." They wish. In fact, what makes this book plausible as a hoax, or equally persuasive as a serious, straight-faced endeavor, is that its essays appear as familiar and conventional as any and all academic effusions in scholarly media journals--the striving for hipness, the theorist check-offs, etc., etc.
A "non-academic" who signs himself William Preston Robertson attended the academic symposium at the 2006 Lebowski Fest in Louisville, organized by editors Comentale and Jaffe, where many of the book's essays were first delivered as papers. In his Endnote to the book, Robertson writes, "frankly, I hadn't a clue what most of the presenters were talking about. However, one thing was clear: the presenters themselves did. They were discussing not just concepts, but concepts with which they were quite familiar, maybe even learned in ... and as they discussed them, some seemed just a little drunk." (His ellipsis) Could this not be a perfectly apt description of just about any panel at SCMS or the MLA?
Of course, since the symposium was held at a bowling alley, perhaps the speakers were actually drunk, not merely on their own words. The editors imply as much. In their Introduction, as hipsterish as any two Ph.D.s can manage, they
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concede that we could read the book the old-fashioned way, but they also invite us to "treat it like the Dude's rug-- relax on it, piss on it, roll it up and smoke it, get lost in the patterns, think about tying it all together in its absence." I, for one, have never knowingly pissed on a book, but then I am losing touch with what passes for avant-garde behavior among professors these days.
Actually, if you like to read academic essays, The Year's Work in Lebowski Studies may indeed please you. Those Coen boys are sharp as tacks, and The Big Lebowski is, pardon the word, fecund for the purposes of scholarly cogitation. IUP's publicists summarize the contents succinctly: the essayists "address the film's influences--westerns, noir, grail legends, the 1960s, and Fluxus--and its historical connections to the first Iraq war, boomers, slackerdom, surrealism, college culture, and of course bowling." College culture? Maybe those publicists rolled the book up and smoked it.
[ILLUSTRATION OMITTED]
At this point, reader, I decided to watch the movie again, feeling that, keen as my fond memories may have been, I needed to refresh them after a dozen years. Like The Stranger, I laughed ... at parts, and generally found that it could withstand a twenty-one-essay salute in The Year's Work. In fact, the film is so rich in influences and historical connections that it needs twenty-one essays to do it justice, and even they don't exhaust the interpretative possibilities. But they do expand the publicists' list; after all, I doubt that twenty-one publicists worked on the press release.
The essays, for example, tell us a good deal more about male anxiety, fear of castration, and the possible loss of one's "Johnson" (any relation to Lyndon?). They go more deeply into the question that The Big Lebowski asks of The Dude: "What makes a man, Mr. Lebowski?" They do a bit to unpack that grand portmanteau term "the 1960s," although the significance of the Vietnam War in the film and to that era could have been developed a good deal more (it's not even listed in the inadequate index). What makes--or unmakes--a man might also have been treated with reference to other United States wars cited in the film, including Korea (where The Big Lebowski purportedly lost use of his legs) and World War II, relevant to the film's references to Nazis. And speaking of absences, it would have been clever of an author to make some intertextual palaver about the young Jeff Bridges's performance in the title role of the 1973 film The Last American Hero, directed by Lamont Johnson. How about, The Dude as Last American Hero Redux?
Meanwhile, for the nonacademics among you, one can recommend The Big Lebowski in the BFI Film Classics series. It fits in the hand, has shiny paper stock, and lots and lots of terrific color illustrations from the film and several other works (as well as ample black-and-white images from an "influence," The Big Sleep). Not a single European theorist on the Adorno to Zizek checklist appears in the bibliography. Nevertheless, it becomes downright philosophical in its final words, proposing that the film's argument is, "why get yourself all twisted up in knots trying to scramble for money, status, fame, power, and so forth? Why not enjoy yourself, why not enjoy your life, since it's the only one you have anyway? I mean it, the film seems to say, and this time I mean it honestly: fuck it, let's go bowling."
The Dude, who in postcoital reverie claims to have participated in writing the original Port Huron Statement--"not the compromised second draft"--and to have been a member of the Seattle Seven (who were arrested in 1970 after an anti- Vietnam War demonstration in that city), remains, to authors J. M. Tyree and Ben Walters, a subversive hero, by other means.
Sklar, Robert
Source Citation (MLA 8th Edition)
Sklar, Robert. "The Year's Work in Lebowski Studies." Cineaste, Winter 2010, p. 68+. PowerSearch,
go.galegroup.com/ps/i.do? p=GPS&sw=w&u=schlager&v=2.1&id=GALE%7CA244158945&it=r&asid=d25559cb43d5e1bde0a0aa629874a8f8. Accessed 13 Apr. 2017.
Gale Document Number: GALE|A244158945
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