October 6, 2015 | by Dan Piepenbring
“The most exciting thing is to read a poem out loud for the first time,” Eileen Myles tells Ben Lerner in our new Fall issue:
There’s a whole kind of inside thing bursting out, and I’m always dying to hear it. I do hear it in my head, but I never read it out loud to myself until I’m in front of people … What is so great—I’ll even say holy—about reading a poem for the first time in front of people is that you’re sharing what you felt in the moment of composition, when you were allowing something. When I’m writing the poem, I feel like I have to close my eyes. I don’t mean literally, but you invite a kind of blindness and that’s the birth of the poem. Writing is all performance. Something’s passing through … The performance is us writing what’s using us, remarking upon it.
October 6, 2015 | by Dan Piepenbring
- The filmmaker Chantal Akerman, whose 1975 movie, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, is arguably “the first masterpiece of the feminine in the history of the cinema,” has died at sixty-five. “Jeanne Dielman is a real-time study of a middle-aged widow who lives with her teenage son in a small Brussels flat. The film follows her as she completes drab domestic tasks and tries to make ends meet through occasional prostitution … The long, frank takes featured in Jeanne Dielman were a feature of Akerman’s work.”
- As a theater director, Bryan Doerries aims to revitalize the power of the medium: his company performs Greek tragedies at full-tilt for audiences at schools, hospitals, prisons, and army bases, and his goal is catharsis in the fullest sense of the word. “Theater is able to do something that no other medium can achieve,” he says. “It leads disparate audiences into a profound communion … We have lost touch, as a culture, with the importance of coming together and confronting what it means to be human as a community. Theater, and tragedy in particular, has the power to do this … Theater still has the power to create a sacred space, in which we are transported out of our quotidian reality and brought into contact with the transcendent, the heroic, the mythic, and with one another. We still hunger, I think, for this experience, as people, as a culture. And in some ways, because it’s so rare, it’s all the more overpowering and effective when we encounter it.”
- Today in unlikely longevity: New Hampshire’s Yankee magazine has been around since 1935, and it’s navigated, somehow, many epochal changes in media. What’s its secret? Listen carefully: cover fall foliage as if it’s Mardi Gras, never change, and appeal to a boring, affluent, aging readership. Yankee stands tall because of, not in spite of, its stupefying predictability: “There are tips on travel to destinations like Narragansett Bay, in Rhode Island, and recipes for Boston cream pie and needhams (an old-fashioned Maine candy made with mashed potatoes). Ads for regional businesses and New England wares still fill the magazine, which now comes out six times a year. The much loved Swopper’s Column—a classifieds page for unusual objects, which first appeared in the magazine’s fourth issue—was not discontinued until 2013.”
- On Robert Zemeckis’s The Walk, which has at its center a stunt that cinema has been waiting for a long time: “Two twenty-first-century phenomena have changed the way moving pictures are made and perceived. The first is the accelerating use of digital technology and the inexorable rise of a cyborg cinema that, by combining animated and photographic images, compromises the direct relationship to reality that had long been the medium’s claim to truth. The second is the trauma of September 11, 2001, which for many provided the ultimate movie experience that was more than a movie—spectacular destruction, broadcast live, and watched by an audience, more or less simultaneously, of billions.”
- Any talk of Garth Risk Hallberg’s novel, City on Fire, comes with stock phrases like “the publishing event of the season” or “hotly anticipated” or “golly, that guy got a big ol’ advance, didn’t he?” Now the book is here, and it is … long and nostalgic: “There’s a strong tradition of social novels of New York City—from William Dean Howells’s A Hazard of New Fortunes and the novels of Edith Wharton to DeLillo and Lethem—built on near overdoses of naturalistic detail. Hallberg has tried to yoke the genre to what one character calls a ‘fairy tale,’ but one of the virtues of fairy tales is that they’re usually only a few pages long.”
October 5, 2015 | by Dan Piepenbring
This morning we made an exciting discovery: beneath a plaster bust of George Plimpton and a dog-eared copy of our short-lived magazine for children, we found a box of limited-edition dead-stock Paris Review T-shirts. Being nothing if not business-minded, we knew we had to get these on the market ASAP.—that’s why we’re giving them away.
Starting today, if you preorder a copy of our upcoming anthology The Unprofessionals for $15.99, we’ll throw in a Paris Review T-shirt free of charge. The shirts are available in men’s sizes small and medium and women’s sizes medium and large. But don’t dally: supplies are limited. (We really do have just one box.) Read More »
October 5, 2015 | by Dan Piepenbring
- If you were conducting a kind of Hemingway Grand Tour, traveling the world in search of all things Papa, I’d tell you to get a better hobby—but if you insisted, I would tell you to make sure you visit northern Michigan, the site of Hemingway’s sometimes neglected formative years. “Havana, Key West, Ketchum, Paris, Pamplona—these locales tend to conjure vintage Papa: a kerchiefed, bloated, rum-drunk Nobel laureate. Petoskey? Not so much. The gatekeepers of Hemingway’s legend have largely ignored the place … But if you want to understand the writer, you have to start here. Michigan-era Hemingway is threshold Hemingway—young and raw, before the fame and subcutaneous padding and sixteen-daiquiri lunches. It’s where he experimented in delinquency, learned to cast a fly rod, stepped unmoored into the wilderness and first tinkered with a prose style that would one day make him famous.”
- In times of internal strife and quandary, it’s seldom a good idea to turn to the precepts of dead white men. But during her midlife crisis, Alison Gopnik found solace in the ideas of David Hume, which remain progressive even today: for Hume, “the metaphysical foundations don’t matter. Experience is enough all by itself. What do you lose when you give up God or ‘reality’ or even ‘I’? The moon is still just as bright; you can still predict that a falling glass will break, and you can still act to catch it; you can still feel compassion for the suffering of others. Science and work and morality remain intact … Give up the prospect of life after death, and you will finally really appreciate life before it. Give up metaphysics, and you can concentrate on physics. Give up the idea of your precious, unique, irreplaceable self, and you might actually be more sympathetic to other people.”
- From the renowned creators of camera obscura and camera lucida, it’s Camera Restricta, which “will force you to actually spend time admiring a picturesque landscape rather than worrying about composing the best shot.” Basically, it’s a camera that can tell if other people have already photographed the thing you’re trying to photograph, thus saving you a lot of time and preventing any kind of White Noise–esque Most Photographed Barn in America phenomenon.
- On Eka Kurniawan’s Beauty Is a Wound, an Indonesian novel now available in English, which is playful and agreeably profane even as it tackles the darkest chapters of its nation’s history, such as 1965’s anti-communist purge: “The narrator’s voice ranges from merciless and brusque to tender and doleful. One of the men is terrorized by the ghosts of slaughtered Communists, who make him ‘think that he was making love to his wife’ when, in fact, ‘he was fucking the toilet hole.’ Scenes of brutality—of rape, incest, bestiality—are undercut by macabre humor. Dewi Ayu’s eldest daughter, Alamanda, is in love with Kliwon, her childhood sweetheart, but she is forced to marry the Japanese soldier Shodancho, twenty years her senior, who drugs and rapes her. Alamanda buys an impenetrable ‘anti-terror garment’ that transforms her underwear into a literal iron fortress.”
- Most of us have accepted that this “Internet” isn’t just a passing trend; it’s time, then, to put some serious thought into how to curb the trolls, whose power is on the rise. “With enough effort, expertise, and good faith, a comments section can showcase the worthwhile, efface the worthless, and downrank the dubious. But in mass media and mega-platforms—where most of the action is—comments sections are all too often cybercesspools of trashing and trolling, obsessive annotators, and regressive instigators … The original sin of Internet culture was the exploitation of user-generated content to enrich a lucky few at the top of dominant platforms. Spreading that wealth … would be a good first step toward taming trolls and shaming sock-puppeteers.”
October 2, 2015 | by Dan Piepenbring
- If you’ve got an extra $250k–$350k lying around, you could own a part of obscenity history—a print of Robert Mapplethorpe’s electrifying photograph Man in Polyester Suit is up for auction. That’s the one, you’ll recall, that features “a tightly cropped picture of the torso of a black man wearing a three-piece suit, with his large penis hanging out, like a Montgomery Ward catalog hacked by Tom of Finland, with an assist from Duchamp and Groucho Marx.” Twenty-five years ago, Mapplethorpe’s photography unleashed a righteous fury; Jesse Helms and other congressional fuddy-duddies called it obscene and wrote a bunch of angry letters to people. To own Man in Polyester Suit is to give the middle finger to such types, always and forever. I’m sorry I can’t afford it myself. But if someone were to wish to buy it for me as a gift …
- Elizabeth Bishop met Clarice Lispector in 1962, and immediately set about trying to help the Brazilian writer to break out in America. But there was some kind of a hiccup, and things between them cooled: “It is notably odd that Lispector was not more interested in Bishop’s offer to foster relationships with American publishers; she had struggled to get the elite presses of Brazil to take on her books and would struggle to make money after separating from her husband … Bishop personally negotiated the relationships and letters of interests with these editors, but it seems that she never realized or acknowledged that the power she wielded, often with an air of superiority, was precisely what was offensive … The last time Bishop writes about Lispector to Lowell, she says, ‘She’s hopeless, really.’ ”
- Whither e-reading? A few years ago, e-books were poised to take over the world—but reading on a screen has failed to live up to its promise, and e-books are just … kind of boring, especially on the much-vaunted Kindle. “Amazon has built seamless, efficient plumbing for digital books. But after a book has made its way through the plumbing and onto the devices, the once-fresh experience now feels neglected … I’ve found that it’s much more effortless to dip back into my physical library—for inspiration or reference—than my digital library. The books are there. They’re obvious. They welcome me back.”
- If Nietzsche gave a commencement speech—I know, thank God he’s dead, and won’t—he might draw from a part of his Untimely Meditations, devoted to Schopenhauer as an educator, but littered with weird nuggets of quasi-self-help: “There is no drearier, sorrier creature in nature than the man who has evaded his own genius and who squints now towards the right, now towards the left, now backwards, now in any direction whatever … No one can build you the bridge on which you, and only you, must cross the river of life. There may be countless trails and bridges and demigods who would gladly carry you across; but only at the price of pawning and forgoing yourself. There is one path in the world that none can walk but you. Where does it lead? Don’t ask, walk!”
- In John Keene’s collection Counternarratives, “every available form of literary irony—every possible way of forcing stubborn words to mean more than they pretend—seems to be working at once.” Keene (“black, gay, raised in St. Louis, enamored with language, tormented by it”) is intent on using silence and absence in his fiction; his stories are full of missing texts. “This time, they are the reader’s assumptions and expectations, the dominant narratives—historical and political as well as strictly literary—with which we conjure the world and reproduce it, exclusions and erasures intact.”
October 1, 2015 | by Dan Piepenbring
If you’re in New York this Saturday, October 3, stop by the Designers & Books Fair to see our art editor, Charlotte Strick, discuss the process of redesigning The Paris Review. She’s part of a panel on magazine redesigns at the Fashion Institute of Technology, and she’ll be joined by art directors from the New York Times Magazine and Aperture:
The New York Times Magazine, The Paris Review, and Aperture magazine have all recently undergone extensive redesigns, each with far-reaching results. The three art directors involved in these redesign efforts—Michael Famighetti at Aperture, Gail Bichler at the New York Times Magazine, and Charlotte Strick at The Paris Review—will talk about how the initiatives materialized, what the expectations were, what the verdict is so far; and whether redesign efforts reflect or lead evolutionary development in mission and content.
The talk begins at one thirty; it’s free and open to the public, but seating is limited, and you can reserve a seat for ten dollars. Hope to see you there!