Tasha Golden is on vacation from the blog this week, so covering for her on the Round-Down today is the writer Gila Lyons. Gila’s work has appeared in Salon, The Millions, The Morning News, Tablet, The Forward, The NY Press, The Faster Times, The Berkshire Review, and other publications. She lives in Boston, where she writes and teaches writing. —Andrew Ladd, blog editorCritics and journalists love to proclaim Louis C.K. the best comedian alive. They have much to say about his sharp wisdom and existential dilemmas—but few have discussed the relevance of his work to writers. Yet the fourth season of Louie, which began last month, has much in common with today’s great writing.
At times Louie is like a Lydia Davis collection, full of odd-shaped stories of varying sizes—some full-length episodes, some tiny three-minute segments. At other times it’s like the punchy vulgar version of Kathleen Norris’ Dakota, whose stand-alone narrative chapters are punctuated with poetic “weather reports,” as Louis’s plot-driven episodes are book-ended with stand-up bits. The material of some episodes are mundane like Evan Connell’s glimpses-of-life novel, Mrs. Bridge—Louis lying in bed eating ice cream watching the news, Louis picking up his daughters from school; some are surrealistic and Kafka-esque—Louis, riding the bus alone on New Year’s Eve, comes face to face with the woman he’s been missing, and as they begin their smiley hellos blood pours from her nose and she dies. Louie is in turns microfiction, magic realism, Avant-garde, lyric essay, short story, and poem. He is Aimee Bender, John D’Agata, Raymond Carver, Samuel Beckett, Lorrie Moore.