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Posts Tagged ‘Aldous Huxley’

Malthusian Flotsam and Unspeakable Jetsam, and Other News

March 28, 2016 | by

Photo: Kirk Crawford.

  • Jim Harrison has died at seventy-eight. “You don’t write—an artist doesn’t create, or very rarely creates—good art in support of different causes,” he told The Paris Review in 1988. “And critics have an enormous difficulty separating the attitudes of your characters from your attitudes as a writer. You have to explain to them: I am not all the men in my novels. How could I be? I’m little Jimmy back here on the farm with my wife and two daughters, and, at one time, three female horses, three female cats, and three female dogs, and I’m quite a nice person.”
  • Fact: you, too, can enjoy Aldous Huxley waxing lyrical about a controversial Los Angeles sewage treatment plant. “One day in 1939, Aldous Huxley, Thomas Mann, and two women walk along the shore south of Los Angeles. The weather is beautiful, the beach is empty, and Shakespeare is debated. Then the group realizes that something’s funny about the beach. As Huxley put it in the essay, ‘Like Hyperion to a Satyr,’ they are suddenly walking among ‘ten million emblems and mementos of Modern Love … Malthusian flotsam and unspeakable jetsam.’ The four had found themselves among a sea of used condoms that ejected by Los Angeles’s Hyperion sewage treatment plant. Huxley returned to those shores a few years later, after LA upgraded the plant in 1950. He was overjoyed with what he saw, and what he thought the vista suggested about the city: ‘Another torrent, this time about 99.95 percent pure, rushes down through the submarine outfall and mingles, a mile offshore, with the Pacific. The problem of keeping a great city clean without polluting a river or fouling the beaches, and without robbing the soil of its fertility, has been triumphantly solved.’ ”
  • In America, Joseph Brodsky is often held up as “the poster boy for Soviet persecution,” as Cynthia Haven writes—but a new biography is trying to change that perception: “Ellendea Proffer Teasley, in her short new memoir, Brodskij sredi nas (Brodsky Among Us), offers a different view of the poet. It’s an iconoclastic and spellbinding portrait, some of it revelatory. Teasley’s Brodsky is both darker and brighter than the one we thought we knew, and he is the stronger for it … According to the leading critic Anna Narinskaya, writing in the newspaper Kommersant, Teasley’s memoir had been written ‘without teary-eyed ecstasy or vicious vengefulness, without petty settling of scores with the deceased—or the living—and at the same time demonstrating complete comprehension of the caliber and extreme singularity of her “hero” ’ … Even so, the book has yet to find a publisher in English, the language in which it was written.”
  • Do you want Saul Bellow’s desk? He sat there, wrote some books. And it’s nice—a mahogany roll-top job dating to the Victorian era. A steal at ten thousand bucks. Please buy it. Please, please buy it. No one else is buying it, Bellow’s son told the Wall Street Journal: “I guess space is expensive on the Upper West Side. Nobody’s got room for a giant piece of furniture … I thought, well, this will provoke discussion. But it really didn’t … I’m moving to a smaller place and the desk just isn’t fitting into the plan.”
  • Problem: a staging at the Park Avenue Armory of Louis Andriessen’s 1988 avant-garde opera, De Materie, calls for one hundred sheep. Solution: get the fucking sheep. “Simply getting hold of so many stage-ready sheep was an exceptionally difficult bit of opera casting … The bane of international opera stars is a visa system that can be difficult to navigate. For opera sheep, it is getting the right veterinary certificates, exhibiting permits, humane handling paperwork and the like … Then there was the question of where to house them. The ovine troupers could not sleep at the Armory; could not commute from Pennsylvania; and would not have been welcome at the hotels that usually cater to visiting sopranos. So accommodations were found at the Bronx Equestrian Center, which has stables in Pelham Bay Park. The New York City Department of Health and Mental Hygiene, which has jurisdiction over animals in performances, issued a permit to allow the project to go ahead … Then the Armory had to be readied. A backstage paddock was built and soundproofed … ”

It’s Already Right Behind You, and Other News

November 10, 2014 | by

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The Phantom Omni can make you feel as if someone (or something) is right behind you. User discretion advised.

  • “An editor whose taste is unique to himself is a bad editor. The only person who discovers a writer is the writer himself.” An interview with our editor, Lorin Stein.
  • Aldous Huxley doing calisthenics; Borges beneath a ponderous storm cloud; James Ellroy behind a lamp with no shade on it … and other portraits that give the lie to this idea that writers don’t photograph well.
  • Partying on the dime of New York’s most controversial literary publisher: Amazon. “Outside, a war was raging; inside there were friends, food, and funding—for now. Passed hors d’oeuvres were loudly heralded … ‘I saw the sliders coming around and it just suddenly crossed my mind. I guess all this is being paid for by Amazon!’ ”
  • A pair of new films offer two very different theories about creative life: In Whiplash, an aspiring drummer faces “an abusive professor who is convinced that relentless torture is the only way to coax his students to the peak of their abilities … the crazy guy is right: The only way to be any good at something is to not bother trying to be good at anything else.” Meanwhile, Adult Beginners suggests “that if you forego grandiose notions of achievement and settle for surrounding yourself with people who love you and provide you with emotional support, your definition of fulfillment will become more manageable.”
  • Today in our science-fictional reality: What if there were a robot that could produce the skin-crawling feeling that someone is right behind you? There is. We’re fucked. (Actually, the robot may help us understand schizophrenia—but still.)

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RIP Charlotte Zolotow, and Other News

November 20, 2013 | by

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  • Charlotte Zolotow has died, at ninety-eight.
  • So, what would Aldous Huxley do?
  • C. S. Lewis has been inducted into the famed Poets’ Corner at Westminster Abbey.
  • Sales of hardcover books are surprisingly brisk.
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    Brave New Turkeys: We Have a Winner!

    December 10, 2012 | by

    For our most recent contest, we asked you, dear readers, to create a festive, possibly dystopian, turkey from Aldous Huxley's handprint. You delivered. Below, without further ado, our favorites.

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    What We’re Loving: Dorian Gray, Sex with Immortals

    July 27, 2012 | by

    Last Thursday, finding myself with an hour to kill in London, I stopped into Lutyens & Rubinstein bookstore in Notting Hill. No Paris Review (sigh), but I did pick up the Summer issue of Slightly Foxed, a quarterly devoted to little essays about people’s favorite books. The clerk claimed it’s the most popular lit mag they stock. And it’s easy to see why. Crome Yellow, The Lost Oases, The Elegies of Quintilius, and a guide to British sea birds give some idea of the miscellany. Read one issue back to back and you could cross every conceivable reader off your Christmas list. —Lorin Stein

    How, exactly, do a human and a god have sex? For Elizabeth Costello, the eponymous protagonist of J. M. Coetzee’s novel, it is less a question of metaphysics than of mechanics. “Bad enough to have a full-grown male swan jabbing webbed feet into your backside while he has his way, or a one-ton bull leaning his moaning weight on you,” she thinks. But when the god does not change form, how does the human body accommodate itself to “the blast of his desire”? What makes the passage so interesting is not only Costello’s amusing speculations on the impracticality of cosmic coupling but the way such a question allows Coetzee to reflect on the whole messy business of the god-human relationship. The gods may never die, he suggests, but that doesn’t mean they know how to live. —Anna Hadfield

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    Electrical Banana

    June 11, 2012 | by

    Mati Klarwein, Annunciation (used for Santana's Abraxas), 1961, oil and tempera on primed canvas.

    I have always been a poor visualizer. Words, even the pregnant words of poets, do not evoke pictures in my mind. No hypnagogic visions greet me on the verge of sleep. When I recall something, the memory does not present itself to me as a vividly seen event or object. By an effort of the will, I can evoke a not very vivid image of what happened yesterday afternoon, of how the Lungarno used to look before the bridges were destroyed, of the Bayswater Road when the only buses were green and tiny and drawn by aged horses at three and a half miles an hour. But such images have little substance and absolutely no autonomous life of their own. They stand to real, perceived objects in the same relation as Homer’s ghosts stood to the men of flesh and blood, who came to visit them in the shades … This was the world—a poor thing but my own—which I expected to see transformed into something completely unlike itself.

    So wrote Aldous Huxley just before an afternoon mescaline trip, his first, in 1954. The psychedelic sixties would take Huxley’s message to heart, opening new doors of perception while under the influence. But for graphic designer Heinz Edelmann, Huxley’s journalistic exploration was mescaline enough. After reading the British novelist’s account, Edelmann thought, “Well, I don’t need mescaline. I can do that stone cold sober.” If you don’t know who Edelmann is, have a look at Yellow Submarine: he created the look of the film and designed all the characters.

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