The Paris Review Daily

Posts Tagged ‘calligraphy’

Hemingway Hotels, Customized Austen, Literary Shame

April 20, 2012 | by

  • Listen to Allen Ginsberg reading “What Would You Do If You Lost It?” at the 92nd Street Y in 1973.
  • One can now purchase a customized classic—think Pride and Prejudice—featuring you as a character.
  • Incredibly lovely calligraphy, in action.
  • Ted Hughes’s ninety-two-year-old brother, Gerald, is writing a memoir about the boys’ Yorkshire childhood.
  • Shameful reading confessions.
  • The life of the pencil elitist.
  • The Roots, Chris Martin, Regina Spektor, and … Captain Ahab. People of the Book unite! (Adorably.)
  • Hemingway’s estate is starting a hotel chain. Hemingway Hotels and Resorts will be Papa-themed. Says the Web site, “An artist needs inspiration to flourish, and so Hemingway was drawn to the world’s most beautiful locales: Paris, Spain, Venice, Key West, Havana, Idaho. Hemingway Hotels will also be found there, and in other beautiful places around the world, in cities and in nature, on beaches and in mountains. Only select hotels will be approved for this iconic brand. For each Hemingway Hotel must be true to its environment, unique architecturally, and committed to providing guests with active, passionate one-of-a-kind experiences that deeply enrich their lives.”

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    Islamic Art at the Met

    November 7, 2011 | by

    Dagger with Zoomorphic Hilt, second half sixteenth century. India, Deccan, Bijapur, or Golconda. The Metropolitan Museum of Art, Purchase, Lila Acheson Wallace Gift, 2011 (2011.236). Image: © The Metropolitan Museum of Art, New York.

    Last week, the Metropolitan Museum of Art opened its renovated and newly enlarged wing of Islamic art, now called Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia. The new space, which is gorgeous, is entirely redesigned. The galleries are now organized by theme and material as well as period. There is more figurative art—paintings, illuminated manuscripts, glazed pottery—and greater geographical breadth. Many of the pieces displayed in the old galleries are also here, newly contextualized. Others, never displayed, have been taken out of the museum’s twelve-thousand-object collection. And some pieces were acquired over the past eight years, while the wing was closed to the public. Among the most seductive of these new objects is a zoomorphic dagger (pictured above) from sixteenth-century Deccan India. I recently took a tour of the galleries with curator Navina Haidar, who talked to me about some of its treasures, new and old. Read More »

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