Posts Tagged ‘Christian Lorentzen’
November 26, 2015 | by The Paris Review
Call yourself a foodie? Put down that cider-brined drumstick and order your copy of our Winter issue, including our Art of Nonfiction interview with Jane and Michael Stern, whose pioneering Roadfood first got Americans thinking about regional cuisine:
Our grand idea was to review every restaurant in America, which seemed like a really easy thing to do, considering neither of us had ever been anywhere … We just opened a Rand McNally map and said, Piece of cake. Three years later, we were still on the road.
Then there’s our interview with Gordon Lish, in which the editor of Raymond Carver, Don DeLillo, Joy Williams, Barry Hannah, and Harold Brodkey explains how he’s able to tell “shit from Shinola”:
I’ve got the fucking gift for it. Instinct, call it … I don’t go along—but am furious when others don’t go along with me. How can they not revere what I revere? How is it that my gods are invisible to them? It’s inexcusable but, of course, wretchedly expectable. Am I a zealot, a terrorist, out on my own limb? Yes, with a vengeance!
You’ll also find lost translations from Samuel Beckett; new translations by Lydia Davis; new fiction from Lydia Davis, Nell Freudenberger, Andrew Martin, Christopher Sorrentino, and David Szalay; the third installment of Chris Bachelder’s comic masterpiece The Throwback Special; poems by Anne Carson, Henri Cole, Jeff Dolven, Mark Ford, Kenneth Irby, Maureen N. McLane, Sharon Olds, and Jana Prikryl; and a portfolio of Richard Diebenkorn’s sketchbooks.
Get your copy now. And remember that a subscription to The Paris Review makes a great gift—especially when it comes with a free copy of our new anthology, The Unprofessionals. At just $40, it’s the best holiday deal around.
November 13, 2015 | by Dan Piepenbring
- Flogging! Embezzling! The public humiliation of a churchman named John Winterbottom! These and more await you in an unpublished story by Charlotte Brontë, discovered in the “much-treasured” pages of the family copy of Robert Southey’s The Remains of Henry Kirke White. There’s a new poem, too: “The pieces have been dated to 1833, when Charlotte would have been around seventeen … Historian Juliet Barker, author of the biography The Brontës, said that ‘the book alone is a valuable acquisition because of its rare associations with Mrs Brontë ’ … According to the Brontë Society, the Southey title is one of Maria’s ‘rare surviving possessions,’ after a box containing all her property was shipwrecked off the Devon coast shortly before she married Patrick Brontë in 1812. It also features Patrick’s Latin inscription, reading that it was ‘the book of my dearest wife and it was saved from the waves. So then it will always be preserved.’ ”
- Today in national parks and the macabre: “For years, I’ve been an avid reader of what I call the Death in … books. It’s not quite an actual series—there are four so far, from three different publishers—but the Death in … books all do the same thing: They chronicle accidents, murders and mishaps in several of America’s most treasured national parks, giving us Death in Yellowstone, Death in Yosemite, Death in the Grand Canyon, and Death in Big Bend. The Yellowstone, Yosemite and Grand Canyon books purport to chronicle every single death (excluding illness and car accidents) from the mid-nineteenth century onward, sorted into chapters by type: flash floods, bear maulings, murder, falls, poison gas and so on … The Death in ... books are morbid documents, and their authors’ defensiveness about that only proves the point. But what’s so wrong with being morbid?”
- “One thinks, usually, of drizzle being the opposite of thick, and of being lazy and gentle rather than sudden and sweeping. Still, an admirable deployment of the gerund.” That’s Christian Lorentzen, dismantling one of seventeen opening lines from new books. (In this case, the line is from Lauren Groff’s Fates and Furies: “A thick drizzle from the sky, like a curtain’s sudden sweeping.”) Look away, children.
- Sixty-five years after its publication, the childbirth scene from Barbara Comyns’s Our Spoons Came from Woolworths still has everyone talking—and it resonates with contemporary literature: “Winding up in a public hospital, Sophia [Spoons’s heroine] is prodded, rebuked, and shamed for her body’s involuntary actions. It’s a setting in which women giving birth are seen either as docilely on track, or deviant … [This] brings to mind Maggie Nelson’s query in … The Argonauts, about the process of childbirth: ‘How can an experience so profoundly strange and wild and transformative also symbolize or enact the ultimate conformity?’ … Ferrante, for one, has said that her heroines don’t suffer so much as struggle. Comyns enacts the opposite: arguably, her characters suffer. Sophia exits each chapter of her life and enters a new one clearly exhausted, clearly in pain, and yet we don’t see her thrashing much. Her narration is triumphant proof that she has made it through, but the way out is seeded with resignation.”
- A note to the bagpipers: listen, let’s not beat around the bush. There are times when ordinary, run-of-the-mill bagpiping will suffice, and there are times when life calls for extreme bagpiping. Those are the times I want to hear about. I’m talking about bagpiping on the beaches of Normandy during D-Day. I’m talking about bagpiping in Antarctica with a penguin beside you. I’m talking about bagpiping on the International fucking Space Station.
June 15, 2012 | by The Paris Review
The classical novel exists, in large part, to teach us how to imagine money—the more than we’ll ever have, the more than we’ll ever lose. Nobody today writes more convincingly about lucre than Jonathan Dee. You glance up from The Privileges thinking, Sure, I can imagine how it would feel to be that level of mega-filthy, godalmighty rich—it’s like grasping some exotic theorem—then you dive back in to watch the Moreys make even more. (For a round-up of moneycentric novels, check out Christian Lorentzen in the new Bookforum.) —Lorin Stein
I’m not a gardener—I can hardly tell tulips from forget-me-nots—but I have many friends who are, and I’ve just come across the perfect book for them. James Fenton’s A Garden from a Hundred Packets of Seed is short, witty, and useful. If you were starting a flower garden from scratch, Fenton asks, what flowers would you choose to grow in it? The names themselves are a pleasure to read: the Shoo-Fly Plant (also known as the Apple of Peru), the Pheasant’s Eye, the Iceland Poppy, the Blue Pygmy. Fenton also gives sound advice: “When handling seedlings, always hold them by the leaves, not by the stem”; and, “Forcefully remind your cat about the difference between seed trays and litter boxes.” —Robyn Creswell