Posts Tagged ‘construction’
August 4, 2016 | by Wei Tchou
How the Brooklyn Bridge became a living landfill.
I too saw the satin ribbons, the scrunchies, the clothing tags, the fat knots of underwear and panty hose, had my eyes dazzled by the foil of a bag of potato chips, the ripped labels of Poland Spring water bottles, look’d on the clear plastic rosary with a cross, the teak mantra beads strung on red thread, look’d at the fine centrifugal spokes of light round the shape of a plastic spoon, and saw how four black locks neatly proselytized in gold marker (JESUS <3’S YOU, BE A CHRISTIAN, KEEP GOD <3 FIRST <3, GOD IS GREAT). Crossing the Brooklyn Bridge one evening last week, I too felt the curious abrupt questionings stir within me when I saw the white diaphanous fluff of tampons—unused, I hope—that had been tied to the railings by the living crowd. Read More »
May 9, 2016 | by Sadie Stein
As I write this, there are six workmen constructing a building within five feet of the window, as has been the case for the past eight months and will be for the foreseeable future. It’s not a quiet business at the best of times, and at the moment they’re blasting “Rockin’ Robin.” They start work at seven A.M., and they have one of those special permits from the mayor’s office that allows them to work on Saturdays, too. Along with the two preschools and the slew of amateur musicians who inhabit the surrounding buildings, it makes for a cacophony.
I used to wear noise-canceling headphones and sometimes earplugs, and I’d fume like an angry cartoon character, but now it doesn’t bother me much. In balmy weather, it even feels sort of Rear Window–ish and picturesque. Or so you can tell yourself, especially when one amateur musician noodles on his sax for several hours at a time. I realize I have come to love it. Read More »
February 11, 2016 | by Patrick Leigh Fermor
The British travel writer Patrick Leigh Fermor, born on this day in 1915, sent this letter to Deborah Devonshire in October 1960, having completed a road trip through plenty of Eastern Europe. Read more of their letters in In Tearing Haste: Letters Between Deborah Devonshire and Patrick Leigh Fermor. Read More »
May 7, 2014 | by Dan Piepenbring
We’re saddened to report that Thomas Glynn, a writer whose keen, mordant fiction appeared in The Paris Review, The New Yorker, and Playboy, died last weekend. When we say that very little is known about him, we mean that very little is googleable about him—having largely managed to evade the Internet’s All-Seeing Eye, Glynn has taken on a quasimythical obscurity. As of this writing, he hasn’t received a proper obituary.
We know he published three novels—Temporary Sanity (1977), The Building (1985), and Watching the Body Burn (1989)—the latter two with Knopf and the former with Fiction Collective. All three were well reviewed, and all three have fallen out of print. Later came a kind of hybrid called Hammer. Nail. Wood. The Compulsion to Build (1998), whose back cover recommends filing it under Home Reference/Nonfiction/Building. But its chapter titles imply a more contemplative blend of service and supposition. (E.g., “Iron and wood,” “Sex and wood,” “Do you really need a second floor?” “Put your fist through it and see if it’s still standing,” “Tools you may need and some you might not,” “How fast is a running foot?” and “The ruin of a perfectly good junkyard.”)
As those suggest, Glynn had a knack for titles. His three stories in The Paris Review were called “Except for the Sickness I’m Quite Healthy Now. You Can Believe That,” “Apondé, the Magnificent Times Two,” and “If I Don’t Phone, I’ll Call, or Something.” The first of those appeared in our 2012 anthology, Object Lessons, where it was introduced by Jonathan Lethem: “For Glynn, language may be the color blue that’s used in the place of all other colors: the paint that won’t actually let you see the painting, but can do absolutely anything you need it to do anyway.” Read More »