Posts Tagged ‘Charles Simic’
September 6, 2016 | by Dan Piepenbring
Have you heard about this election? It feels fun now, but give it time. There will come a moment when you long to escape the never-ending concussion that is electoral politics, and our new Fall issue is here for you. It’s full of the best new fiction, poetry, interviews, and art—and it contains precisely zero instances of the word election. That’s our guarantee.
In the Art of Poetry No. 100, Ishmael Reed discusses growing up in Buffalo, the search for “new mythologies” that led him to write Mumbo Jumbo, and his concerns for young writers of color: Read More »
August 4, 2016 | by Dan Piepenbring
- A lot of things keep me up at night. Lately it’s all the forgotten potential of Cheez Whiz and Reddi-Wip—the beauty we lost when mankind turned away from aerosolized foods. As Nadia Berenstein writes, “Push-button cuisine is one of the great, unrealized dreams of postwar food technology. In the 1950s and 1960s, food manufacturers, along with their allies in the container and chemical industries, imagined a world of effortless convenience, where, in the words of one 1964 newspaper article, ‘entire meals … can be oozed forth by a gentle push on a few cans’ … Starting in the late 1950s, an avalanche of new push-button food products made their way to grocery stores. There was Whisp, a Freon-propelled vermouth spray, for that extra-dry martini. Sizzl-Spray, an aerosol barbecue sauce designed for seasoning burgers and steaks on the backyard grill, itself a 1950s innovation. Tasti-Cup, an aerosol coffee concentrate, for the office worker too busy for instant.”
- A. S. Hamrah was sitting in a movie theater last month, waiting for The Purge: Election Year to begin, when he heard that the director Abbas Kiarostami had died. “All of a sudden I became aware,” he writes, “that there is a better world somewhere else, that being in this one, where we were waiting for The Purge: Election Year to shock us, was a waste of the time allotted to me in this life and that, if I were going to see a movie, what time I have would be better spent with a form of cinema that acknowledges something other than the bloodshed and mayhem into which the world has fallen … When watching Kiarostami films, one also has a great sense of another kind of freedom not found in Hollywood movies, nor in most European art films: freedom from the creeping realization that a film we are watching was made by a cynical shit or a self-deluded megalomaniac.”
- Charles Simic knows that the MFAication of poetry has sucked a lot of the life out of it: “it’s hard to believe that a book of poems can be completely original,” he writes, “but despite the great odds, it still happens.” And Jana Prikryl has written such a book: “Reading some of [Prikryl’s] poems is like walking into a movie theater in the middle of a film one knows nothing about, trying to figure out what is happening on the screen, irked at first that the answer is not forthcoming, and gradually growing more and more entranced by the mystery of every face and every action, detached as they are from any context. Unlike poets who are eager to give their readers lengthy and detailed accounts of their private lives, she is discreet. She remains faithful to the ambiguity of our existence, that condition of being aware of the multiple meanings of everything we do or is done to us, and she’s wary of settling for one at the expense of the others and leaving the poetry that went along with them behind.”
- While we’re on the mechanisms of publishing: a season’s biggest titles will arrive worldwide on nearly the same date; translation is built into the production process. In a new book, Rebecca L. Walkowitz “argues that these new conditions of production have altered the very shape of the contemporary novel. Many literary works today do not appear in translation, she proposes, but are written for translation from the beginning. They are ‘born translated.’ Adapted from ‘born digital,’ the term used to designate artworks produced by and for the computer, ‘born-translated literature approaches translation as medium and origin rather than as afterthought. Translation is not secondary or incidental to these works. It is a condition of their production.’ ”
- Everyone loves a “lost” book—the thrill of the forgotten, of rediscovery, has fueled some of publishing’s most major events the past few years. The only problem: most of these books aren’t good. Alison Flood writes, “It’s a tricky tightrope to walk. Publish as much as possible of a beloved author’s work, because the fans will lap it up, or exercise a fierce quality control? It’s a question that I was pondering only this week, on reading the forgotten Dr. Seuss stories in Horton and the Kwuggerbug and More Lost Stories to my children. We are regular readers of Horton Hears a Who, and The Grinch Who Stole Christmas—and were looking forward to it. And … it just wasn’t as good. The Grinch wasn’t the right color, he wasn’t very funny, and there were only two pages of him. Horton wasn’t as charming.”
August 27, 2015 | by Dan Piepenbring
- Literary fame has been a thorny thing more or less forever—according to Suetonius, Virgil sometimes ducked into buildings to flee his fans and the adulating masses. But what accounts for this celebrity, and what stokes its flames once a writer has died? Being struck down in your prime helps: that’s why we read Keats, who died at twenty-five, and not Barry Cornwall, who lived to eighty-six. All told, “an appetite for literary immortality, like the desire to read one’s obituary, poses sufficient challenge that a writer should concentrate on other goals.”
- Today in etymology and the patriarchy: misogyny is a very old word, and sexism a fairly new one—in 1933, the Oxford English Dictionary defined it as “a sequence of six cards”—but despite their nuances, the two are coming to be used interchangeably: “Imputing hatred, which is what misogynist does, is an unnecessary step in a different direction … Misogyny isn’t merely a strong version of sexism. Some men go past stereotyping to contempt. Those calling out ‘misogyny’ everywhere do so with the aim of helping women, but overuse of a word weakens it. If speakers keep misogyny to its original and more powerful meaning, it will pack a greater punch, hopefully to land all the harder on the misogynists of the world.”
- If we want to dispel ignorance, there’s one tactic we haven’t really tried yet: teaching it. Ignorance Studies could impart valuable lessons about human folly, in its many guises. “The study of ignorance—or agnotology, a term popularized by Robert N. Proctor, a historian of science at Stanford—is in its infancy … But giving due emphasis to unknowns, highlighting case studies that illustrate the fertile interplay between questions and answers, and exploring the psychology of ambiguity are essential. Educators should also devote time to the relationship between ignorance and creativity and the strategic manufacturing of uncertainty.”
- Since The Corrections, published fourteen years ago, Franzen has assumed a role as our preeminent public moralist, following in the footsteps of Roth and Mailer where once he admired more fringe figures like DeLillo and Gaddis. “His new phase is marked by his conviction that novels be animated by causes … Franzen has always conceived of writing as a competition, with all writers everywhere, living or dead, aligned either with him or against him, or both at once. His critical writings often read like peace treaties or declarations of war, or like the posturings of a permanent undergraduate at pains to take a side. They frequently contain eccentric statements about what it means to read a novel.”
- Charles Simic has been reading Charles Reznikoff’s long poem Testimony: The United States (1885–1915): Recitative, culled from thousands of pages of court records spanning three decades around the turn of the twentieth century: “I know of nothing like it in literature … what we have here is the first found epic poem. It certainly reads like one, with its huge cast of evildoers and victims, vast setting, and profusion of breathtaking stories. Murder, treachery, injustice, greed, foolishness, jealousy, rape, anger, revenge, marital squabbles, cruelty to children and animals, bad luck, and many other miseries human beings bring upon themselves and on their fellow men are all here to behold … It should not be surprising that Testimony is rarely assigned at our colleges and universities these days; it causes too much discomfort to those who prefer to know nothing about what goes on in the world. This may be precisely what Reznikoff intended with a book like this. Let whoever reads it be upset.”
August 4, 2015 | by Dan Piepenbring
- Some writers take years to finish their novels. These people are fools: writing a novel takes only seventy-five minutes, if you crowdsource it effectively. This Saturday, the sci-fi author Chris Farnell will prove it at a “Geekfest” panel in Heathrow: “the fifty or so attendees of the panel will spend about forty-five minutes collaboratively hammering out a plot, characters and structure. Then, for the next half an hour, each of them will be given one chapter to write, and the results will be collected together, lightly edited, and published as a free ebook.” The book stands little chance of being good—but the same could be said of those that take years to limp their ways to the finish line.
- Opera has a long and vexed tradition of blackface—and the Met, this season, has finally put an end to their use of “dark makeup,” prompting a reconsideration of the role of African Americans in the opera. “Too many Black artists have devoted their lives to opera, working inside and outside the establishment, sharing their insights, pleasure, and critiques, to allow their art to be sidestepped in this way. Besides more opportunities for Black singers on stage, says Dr. Gregory Hopkins, artistic director of Harlem Opera Theater, there needs to be recognition of works in which Black artists can ‘tell our own stories, without need of makeup, where we’re not being dressed up to look like someone else.’ ”
- Why is everyone still obsessed with the Bloomsbury Group, a century later? Because it was elitist: “Paradoxically, the idea of the Bloomsbury Group as socially, intellectually and artistically exclusive is bound up with its wider appeal. Close the door and people come knocking … Establishing an explicitly exclusive and anti-populist club is, of course, a long-established route to long-term popularity.”
- Charles Simic interviews his brother about New York’s jazz scene in the sixties: “[Jackie McLean] told me about his first time playing at Birdland. It was 1952 or something, with Miles Davis. The very first solo he took that night, he was so nervous he stopped, turned around and went back through the curtain at the back of the stage and into the dressing room behind it and threw up. Oscar Goodstein, the Birdland manager, ran in and yelled at him, ‘Get back on stage!’ Jackie goes back out, finishes his solo and gets a big round of applause from the audience. Miles turns to him and says, ‘Man, I’ve never seen that one before!’ ”
- Today in walking metaphors: hitchBOT, a Canadian robot attempting to hitchhike to San Francisco, was found brutally dismembered in Philadelphia. “We know that many of hitchBOT’s fans will be disappointed, but we want them to be assured that this great experiment is not over,” its creators said in a statement. “For now, we will focus on the question: ‘What can be learned from this?’ and explore future adventures for robots and humans.”
April 6, 2015 | by Dan Piepenbring
- Charles Simic uses reading, as so many of us have, to cure insomnia: “I read only a passage or two, and at the most a page, because if I read more than that, I’m in danger of staying up half a night. All I require, to use a culinary term, is an amuse-bouche that leaves a pleasant aftertaste. Have you ever tried poetry, buster? The reader may be wondering. As a snooze-inducer, nothing comes close. Thanks to it, millions have slept like newborn babies over the centuries.”
- Hanging around at the Barbara Pym Society’s annual North American conference: “Tom Sopko, the conference organizer, read aloud quotations from her novels and, table by table, we guessed the character they related to … The rest of the weekend was spent alternating talks about this year’s featured book … with suitably Pym-ish activities: a sherry party, a dramatized reading, and Evensong back at the Church of the Advent.”
- A new history of the gym sees it as a “quasi-religious space,” as it’s been since Ancient Greece: “Freeborn male citizens would go there to train their bodies in the pursuit of arete—moral, physical and intellectual excellence. At the gym they would also enjoy same-sex erotic relationships, the beginning of a symbiosis between homosexuality and the gymnasium that continues to the present day.”
- Salman Rushdie got a Goodreads account—and promptly began to assign unflattering ratings to novels by his peers. Money? Three stars. To Kill a Mockingbird? Three stars. Lucky Jim? One star. “I’m so clumsy in this new world of social media sometimes,” Rushdie told the Independent, claiming he had no idea his ratings were visible to the public. “Stupid me.”
- Finally, some socially conscious citizen has done what man has long dreamed of: remove all the gluten from iconic works of art.
April 1, 2015 | by The Paris Review
“Anyone who writes down to children is simply wasting his time,” E. B. White told this magazine in 1969. “Children are … the most attentive, curious, eager, observant, sensitive, quick, and generally congenial readers on earth. They accept, almost without question, anything you present them with, as long as it is presented honestly, fearlessly, and clearly.”
We couldn’t agree more. That’s why we’re proud to announce The Paris Review for Young Readers, the first magazine that writes up to children. (No offense to Cricket or Highlights.) Imagine a space for children’s literature that doesn’t condescend, cosset, or coarsen; that’s free of easy jokes and derivative fantasy; that invites open discussion and abundant imagination. A space, in other words, that offers the same caliber of fiction, poetry, art, and interviews you expect from The Paris Review, for readers age eight to twelve.
Today marks the release of TPRFYR’s first issue, and we think the table of contents below speaks for itself. Among its poetry and fiction, you’ll find old classics and new favorites—plus some puzzles, quizzes, and advice columns inspired by literature. There’s a portfolio of drawings from Richard Scarry’s lost years, and, at the center of it all, an interview with Eric Carle, the author of The Very Hungry Caterpillar. “A child is an almost platonic reader,” Carle says. “His imagination remains unbounded.” Read More »