Posts Tagged ‘Charles Portis’
August 26, 2016 | by The Paris Review
Fifty-three years ago, James Baldwin published The Fire Next Time, on the experience of being black in America. The title comes from a slave song: “God gave Noah the rainbow sign / No more water but fire next time.” This month, Jesmyn Ward published a compilation of essays called The Fire This Time. She wanted a book, as she writes in a brilliant introduction, “that would reckon with the fire of rage and despair and fierce, protective love currently sweeping through the streets and campuses of America … A book that a girl in rural Missouri could pick up at her local library and, while reading, encounter a voice that hushed her fears.” Ward has packed a multitude into a modest volume and fulfills, I think, her desire to provide a full and rich accounting of black life, one that is infrequently given voice. The lead piece is a sharply evocative prose poem by Kima Jones about a trip home to North Carolina for a funeral and time in the woods with her cousins, “with red cups, Black and Milds, Jim Beam, a blue lighter plucked from the card table.” Another favorite is Garnette Cadogan’s essay on walking, as a boy in Kingston and as a young man in the United States. The dissonance between the two is startling but not surprising: in the former, “I’d get lost in Mittyesque moments, my young mind imagining alternate futures,” and in the other, walking is “a pantomine undertaken to avoid the choreography of criminality.” —Nicole Rudick
I often go back to Gringos, the 1991 novel by Charles Portis, when I find myself between books. Portis is a fount of comedy; his books brim with deliciously absurd characters. Gringos features a clique of eccentric expats idling in the Yucatán: there’s Rudy and Louise Kurle, a blond duo, in Mexico recording evidence of aliens; Doc Flandin, an aged historian and anthropologist whose life work comprises a comprehensive account of Mayan culture; Refugio Osorio, a native of Mérida who deals scraps from his land in the jungle (I’m fond of his pup, “Ramos, son of the late Chino, bravest dog in all Mexico”). Their comedy comes from the wry observations of Gringos’s hero and narrator Jimmy Burns, a fortysomething deliveryman and former hustler of pre-Columbian artifacts. Jimmy lives at the marvelously shabby Posada Fausto hotel in Mérida, taking hauling jobs to pay his rent. His life there “rocks along from day to day”—he drinks in bars and heads to the zoo “to look over the fine new jaguar”—until he finds himself caught up in violent hippie rituals at ancient ruins and adventure in the Yucatán. —Caitlin Love Read More »
October 12, 2012 | by Sadie Stein
This week, Lorin and I made a whirlwind trip to Houston, where we had the chance to visit the wonderful Brazos Bookstore. While browsing their well-curated cookbook selection, my eye was caught by a volume called 101 Classic Cookbooks, curated by the Fales Library. Published by Rizzoli, it is as much an art book as a recipe primer (although there are plenty of those too, from such luminaries as Julia Child and Alice Waters). Images of antique receipt books and mid-century food art make for great cultural history. —Sadie Stein
Charles Portis is that rare literary legend too few have read—me included. When I spotted a copy of his 1979 novel, The Dog of the South, on a friend’s shelf, I knew it was time to find out if the rumors are true. They are. There’s a hopped-up futility to this tale of a man in pursuit of his wife and her lover south of the border, and when Ray’s surrender is set off against small moments of truculence, it’s comic gold. One passage in particular, of Ray trying to outrace another car in a total clunker, reminds me a bit of the pie-fight scene in Gravity’s Rainbow, which was published only six years before; though the setup is far less surreal, it’s rife with absurdity:
I’ve had enough of this, I said to myself, and I was just about ready to quit when the exhaust system or the drive shaft dropped to the highway beneath the Chrysler and began to kick up sparks. Jack was down for the day. I shot over a rise and left him with a couple honks. Harvest yellow Imperial. Like new. Loaded. One owner. See to appreciate. Extra sharp. Good rubber. A real nice car. Needs some work. Call Cherokee Bail Bonds and ask for Jack. Work odd hours. Keep calling.
Walker Percy, the National Book Award winner and Paris Review interview subject, has a delightful and underappreciated piece called “Bourbon, Neat” on a topic near and dear to my heart. Percy claims that bourbon does for him what a bite of cake did for Proust and goes on to expound an aesthetic approach to bourbon in which the chief pleasure comes from, “the little explosion of Kentucky U.S.A. sunshine in the cavity of the nasopharynx and the hot bosky bit of Tennessee summertime,” words that make this Kentuckian’s breast swell with pride. More importantly, this piece provides a ready-made, literary-minded rebuttal to accusations of alcoholism. A defense, I imagine, that might prove useful to more than a few of our readers. —Graham Rogers
I recently picked up The Open Door: One Hundred Poems, One Hundred Years of Poetry Magazine, which was released in celebration of Poetry Magazine’s centennial (thanks to Sam Fox for lending it to me!). If you need to be reminded of the incomparable poems that the magazine published first in its pages (including those of Wallace Stevens, T. S. Eliot, and Sylvia Plath), read excellent poetry by an author you might not have discovered yet, or simply remember why poetry is worth loving, this is the book to turn to. I recommend getting together with a few friends, taking turns opening to a poem at random, and reading out loud—knowing that you (and they) won’t be disappointed. —Emma Goldhammer
According to Robert Louis Stevenson in “The Secret of the Heather Ale,” the last Pictish king chose to have his son put to death and be killed himself rather than reveal the secrets of his favorite beverage to an invading Scottish army. You could try and re-create the ale that “Was sweeter far then honey, / Was stronger far than wine,” yourself this weekend by boiling five ounces of flowering heather tops (any color, although white is allegedly the luckiest) and boil in a gallon and a half of water. After an hour add seventeen pounds of honey and boil for a further half hour, before leaving the mixture to rest for another thirty minutes. Strain into a seven gallon wine fermenting bin and fill the bin to the top with cold water. Stir through one sachet of champagne yeast, skim off any foam that forms on the surface and decant into clean wine bottles. It should be ready after a week or two. —Charlotte Goldney
This week the loveable geeks over at A.V. Club published a tripartite list of the 1990s’ best films. It’s a neat little nostalgia trip on its own, populated by Tarantinos and Jarmuschs and Scorseses and such. But web-surfers were quick to point out that the skinny white dude aesthetic of the Club list-makers resulted in the absolute omission of black and female directors from this particular record of the nineties canon. Weirdly, this didn’t yield a firestorm: it produced a thoughtful discussion of the nature of institutional bias (think Linda Nochlin’s essay “Why Have Their Been No Great Women Artists” in 140-character tidbits), and the chance to reflect upon the contingency of our cultural consumption. Start at Slate if you’re interested. —Samuel Fox
August 10, 2011 | by Rachael Maddux
In early February 1996, an ice storm smothered my hometown with a blanket of deadly frost several inches thick. It was magnificent, sleek, and treacherous, the perfect surface for my eleven-year-old self to hurtle headlong on my mom’s Flexible Flyer, going briefly airborne before I hit the frozen pavement, my sled coming to rest squarely on my right hand. I spent the rest of that week inside my parents’ house, my right hand wrapped in ice and Ace bandages, and my left fumbling through a paperback copy of one of Laura Ingalls Wilder’s Little House books. I’d received the whole box set that Christmas and had promptly set about devouring them.
Despite my unhappy convalescence, I felt as if the ice storm was a gift of sorts, bestowed upon me from the great literary beyond by Laura herself. It was a chilly glimpse into her life, otherwise so remote from my own. When my dad went out to clear the driveway, he was Pa trekking out to the barn in a blizzard; when the power went out, briefly, and my mother boiled water for hot chocolate over the fireplace in our living room, she was Ma making chicory. When I rode in the back seat of our Plymouth Grand Voyager as it crept across icy, rutted surface roads en route to the emergency room, where my hand was deemed unbroken, my family was the Wilders crossing the frozen expanse of Lake Pepin on the way out to Indian Territory.
The writer and editor Wendy McClure also adored the Little House series as a child. After her mother died a few years ago, she fell back into them—fell so hard that her life became consumed, for a time, with churning butter and reading biographies and ferreting out the historical reality from the deeply beloved, quasifictional world of the stories. From it all, McClure wrote her own book, The Wilder Life, which came out last April and which I read in greedy bursts on my train trips to and from work. It was early spring in the South, the underground platforms already sagging with humidity. But daily my arms prickled with goose bumps as McClure rifled through the books’ most intense pleasures, the food and the cozy houses and the unceasing restlessness that pulls the Ingalls family ever westward. Read More »