Posts Tagged ‘deaths’
March 28, 2016 | by Dan Piepenbring
- Jim Harrison has died at seventy-eight. “You don’t write—an artist doesn’t create, or very rarely creates—good art in support of different causes,” he told The Paris Review in 1988. “And critics have an enormous difficulty separating the attitudes of your characters from your attitudes as a writer. You have to explain to them: I am not all the men in my novels. How could I be? I’m little Jimmy back here on the farm with my wife and two daughters, and, at one time, three female horses, three female cats, and three female dogs, and I’m quite a nice person.”
- Fact: you, too, can enjoy Aldous Huxley waxing lyrical about a controversial Los Angeles sewage treatment plant. “One day in 1939, Aldous Huxley, Thomas Mann, and two women walk along the shore south of Los Angeles. The weather is beautiful, the beach is empty, and Shakespeare is debated. Then the group realizes that something’s funny about the beach. As Huxley put it in the essay, ‘Like Hyperion to a Satyr,’ they are suddenly walking among ‘ten million emblems and mementos of Modern Love … Malthusian flotsam and unspeakable jetsam.’ The four had found themselves among a sea of used condoms that ejected by Los Angeles’s Hyperion sewage treatment plant. Huxley returned to those shores a few years later, after LA upgraded the plant in 1950. He was overjoyed with what he saw, and what he thought the vista suggested about the city: ‘Another torrent, this time about 99.95 percent pure, rushes down through the submarine outfall and mingles, a mile offshore, with the Pacific. The problem of keeping a great city clean without polluting a river or fouling the beaches, and without robbing the soil of its fertility, has been triumphantly solved.’ ”
- In America, Joseph Brodsky is often held up as “the poster boy for Soviet persecution,” as Cynthia Haven writes—but a new biography is trying to change that perception: “Ellendea Proffer Teasley, in her short new memoir, Brodskij sredi nas (Brodsky Among Us), offers a different view of the poet. It’s an iconoclastic and spellbinding portrait, some of it revelatory. Teasley’s Brodsky is both darker and brighter than the one we thought we knew, and he is the stronger for it … According to the leading critic Anna Narinskaya, writing in the newspaper Kommersant, Teasley’s memoir had been written ‘without teary-eyed ecstasy or vicious vengefulness, without petty settling of scores with the deceased—or the living—and at the same time demonstrating complete comprehension of the caliber and extreme singularity of her “hero” ’ … Even so, the book has yet to find a publisher in English, the language in which it was written.”
- Do you want Saul Bellow’s desk? He sat there, wrote some books. And it’s nice—a mahogany roll-top job dating to the Victorian era. A steal at ten thousand bucks. Please buy it. Please, please buy it. No one else is buying it, Bellow’s son told the Wall Street Journal: “I guess space is expensive on the Upper West Side. Nobody’s got room for a giant piece of furniture … I thought, well, this will provoke discussion. But it really didn’t … I’m moving to a smaller place and the desk just isn’t fitting into the plan.”
- Problem: a staging at the Park Avenue Armory of Louis Andriessen’s 1988 avant-garde opera, De Materie, calls for one hundred sheep. Solution: get the fucking sheep. “Simply getting hold of so many stage-ready sheep was an exceptionally difficult bit of opera casting … The bane of international opera stars is a visa system that can be difficult to navigate. For opera sheep, it is getting the right veterinary certificates, exhibiting permits, humane handling paperwork and the like … Then there was the question of where to house them. The ovine troupers could not sleep at the Armory; could not commute from Pennsylvania; and would not have been welcome at the hotels that usually cater to visiting sopranos. So accommodations were found at the Bronx Equestrian Center, which has stables in Pelham Bay Park. The New York City Department of Health and Mental Hygiene, which has jurisdiction over animals in performances, issued a permit to allow the project to go ahead … Then the Armory had to be readied. A backstage paddock was built and soundproofed … ”
February 22, 2016 | by Umberto Eco
Umberto Eco’s essay “How to Travel with a Salmon” first appeared in our Summer 1994 issue; it was later the title piece in a collection of Eco’s essays. Eco died last Friday at his home in Milan. He was eighty-four. In an interview with The Paris Review in 2008, he said, “I like the notion of stubborn incuriosity. To cultivate a stubborn incuriosity, you have to limit yourself to certain areas of knowledge. You cannot be totally greedy. You have to oblige yourself not to learn everything. Or else you will learn nothing.”
According to the newspapers, there are two chief problems that beset the modern world: the invasion of the computer, and the alarming extension of the Third World. The newspapers are right, and I know it.
My recent journey was brief: one day in Stockholm and three in London. In Stockholm, taking advantage of a free hour, I bought a smoked salmon, an enormous one, dirt cheap. It was carefully packaged in plastic, but I was told that, if I was traveling, I would be well-advised to keep it refrigerated. Just try. Read More »
October 22, 2015 | by Paul West
Paul West, whom the New York Times once praised for his “unsettling nonuniformity,” died this week at eighty-five. An absurdist with a formidable, playful, idiosyncratic style—“we become inured and have to be awakened by something intolerably vivid,” he wrote, defending purple prose—West published some fifty books of fiction, poetry, and memoir. He suffered two strokes later in life, which slowed him down but couldn’t deter his ingenuity with language. “He would come out of the bedroom and say, ‘Where’s my cantilever of light?,’ ” his wife, Diane Ackerman, told the Guardian. “I suppose you can only know that this means a velour tracksuit when you have been living with someone for four decades.”
The Review published nine of West’s stories, the first in our Summer 1971 issue. The excerpts below are from “Portable People,” a satire of John Aubrey’s Brief Lives from our Summer 1990 issue; later that year, Paris Review Editions published an expanded version of eighty-five “portable people” portraits, illustrated by Joe Servello. —D. P. Read More »
January 12, 2015 | by Dan Piepenbring
“I like big novels,” Robert Stone said in his 1985 Art of Fiction interview. “I really admire the grand slam.” Stone died last weekend in Florida, at seventy-seven. He leaves behind more than a few grand slams—broad, despairing, powerful books full of searchers, outsiders, and misfits. His work exudes what Jessica Hagedorn calls “exquisite paranoia and apocalyptic dread.”
Of course, descriptions like that can make his novels sound too potent—and one of the surprising things about Stone, it must be said, is how little he’s read these days. I hope that will change. As M. H. Miller wrote of him in 2013,
He’s a best-selling author whose work has been heaped with critical praise, but because of the long interims between books, he is more heard of than read by a certain generation of readers. Updike had Rabbit, Roth had Zuckerman, Norman Mailer had Gary Gilmore, even Joan Didion, whose novels are the least interesting thing about her, had Maria Wyeth. Among Mr. Stone’s books there is no clear standout, no obvious introduction. His work is best taken in tandem, like one long narrative where you age with the characters.
He’s right: among readers my age, Stone’s work has had that enviable air of mystery to it. He was always that major writer lurking in the distance. His books didn’t seem approachable, not because they were long or “difficult” but because, as the New York Times put it, they “resonate with philosophical concerns, the thin divides between life and death, good and evil, God and godlessness.” These were tomes about war and God and postwar tumult, and, uh, we definitely wanted to get to them, yes, but—maybe later? Read More »
September 15, 2014 | by Dan Piepenbring
Sometimes power changes hands. Sometimes, perforce, the change is violent. And sometimes, albeit rarely, it involves a Byzantine emperor who’s assassinated in the bathtub, where his servant bashes his brains in with a silver bucket.
Such is the fate, putatively, that befell Constans II on September 15, 668, unless it befell him on July 15, 669, which is also eminently possible. As a historian on Reddit’s AskHistorians recently explained, “there is basically only one source for this, the eighth-century Theophilus of Edessa, who wrote a chronicle whilst serving the Abbasid caliph in Baghdad. This work is now lost, but it was used by several later chroniclers, including the more well-known Theophanes from the ninth century.” Said historian goes on to quote an account by the tenth-century historian Agapius:
When Constans was in the bath, one of his attendants took a bucket, mixed in it mallow and soap, and put this on Constans’s head. While the latter’s eyes were filled with the mallow and soap, so that he could not open them, the attendant took the bucket and struck Constans on the head with it, so killing him. He rushed out of the bath to escape and no one heard any more of him. The servants remained outside waiting for the king to come out, but when they had been sitting a long time and it was getting late and he still had not come out, they entered the bath and found him unconscious. They brought him out and he lived for that day, but then died having reigned for twenty-seven years.
November 15, 2013 | by Sadie Stein
“Some of the first books I read or that my father read to me were translations, although I didn’t know they were translations because in those days the translator often wouldn’t even have his name on the book. I remember a French book, Sans famille, called in English Nobody’s Boy, which my father read to me when I was four or five. It was about a little orphan boy who runs away from the orphanage and goes off with an Italian organ-grinder who has a pet monkey and a lot of stray dogs, all of them with names. Since I came from a large family with all these older brothers and sisters, the dream of my life was to be an orphan, so I thought, Oh, this lucky kid. He’s an orphan, and he gets to wander the roads with all these animals and this nice Italian. I thought it a great happy book, but you were supposed to be dissolved in tears from beginning to end. My father understood perfectly.” —William Weaver, the Art of Translation No. 3