Posts Tagged ‘dogs’
September 6, 2016 | by Dan Piepenbring
- If you’re in Paris, you have only a few more days to catch Michel Houellebecq’s exhibition at Palais de Tokyo. Hot insider tip: bring a pack of cigarettes—you can smoke them on the premises. True, much of his art is devoted to his beloved pet corgi, Clément, who is no longer with us. (Miss you always, Clem!) But there’s also, as Chinnie Ding writes, plenty of art that wouldn’t feel out of place in the pages of The Map and the Territory: “Vaguely oceanic sounds and slowly throbbing lighting carry us through some corridors where Houellebecq’s photographs of anonymous terrain glow and dim to the steady soporific rhythm of a fogged-out distress signal or a drowsy peep show. An all-female island-themed soft-core short, La rivière (The River), 2001, directed by the author, plays in a carpeted baisodrome In the next room, eyes adjust to blindingly glossy souvenir place mats advertising scenic French regions, such as Guadeloupe and Bretagne, which tile the floor and rebrand the nation as one turquoise-skied terroir. [Robert] Combas has contributed several glinting, convulsive paintings that look like religious icons becoming unhinged. All this nervous enjoyment, culminating in a functioning smoking room, seems convinced of an unusable past and a fait accompli.”
- Tired of novels? I don’t blame you. Read one, you’ve read them all. It may be wise to get your fiction as you get everything else—from corporations. John Lanchester makes a good case for the literary appeal of correspondence between CEOs and shareholders: “From the literary-critical point of view, there is always going to be a difficulty with the genre of the investor’s letter. What we’re dealing with here, in essence, is rich people wanting more money. That creates issues of tone. The attempted solutions to the problem change over time, just as financial fashions change … These letters are performances, attempts at persuasion: they are trying to get someone to do something. The desire to make money is always sincere, but not everything else is.”
August 22, 2016 | by Matthew St. Ville Hunte
I had to bury a dog in my backyard yesterday. She was a light brown mongrel and came up to about my knee—not huge, but not tiny, either. She showed up in the neighborhood a few months ago and gave birth to a couple of puppies under a neighbor’s water tank. She came around my house a few times and I fed her, so she and the puppies mostly hung around. A few days ago, she went off somewhere and came back with a wound. We tried to patch her up as best we could, and she seemed to be stabilizing, but eventually she died on the lawn, which had been stained violet from the iodine antiseptic.
But now I had to figure out what to do with her. I chose a spot at the back of the house, between the protruding roots of an old, flamboyant tree, right next to what’s now a well-fertilized plantain crop. (Years ago, one of my brothers, not grasping the reality of the situation, excitedly reported that our neighbor had “planted” one of his dead puppies.) With a rusty hoe and a crooked fork, I managed to loosen the stony ground before digging a hole a couple feet deep. I cut open an old flour bag, wrapped her in it, and lowered her in. There were no last rites, but I did mark her grave with a few pieces from the trunk of a fallen coconut tree. Read More »
August 11, 2016 | by Luc Sante
Now that dogs have acquired the ability to speak, what are we to make of their discourse? Previously we might have expected them to be simple in both their desires and their expressions, limiting themselves to requests for food and play. While those concerns certainly loom large in their conversation, it is clear that all along we had been underestimating their perspicacity, their nuance, their humor, their judgment, and most surprisingly their pedantry.
The subject shown above, known as Pierre, was the first recorded example of a speaking dog. Last April he startled his host family, the Van Munchings of Bedburg, New York, by pointing out, apropos of nothing, that it was high time they cleaned the filter in their dehumidifier, adding for good measure that the tires on their Armada were badly in need of rotation. Pierre broached the subject in the mild and apologetic fashion that would come to be known as his hallmark, but that did not prevent Ethel Van Munching from dropping the dishes she was carrying to the kitchen table. Pierre, naturally, gobbled the eggs and bacon the instant they hit the floor, so that the family briefly thought they had simply experienced a collective hallucination. Moments later, however, Pierre was reminding them that their quarterly homeowner insurance payment was past due. It has still not been determined whether Pierre can actually read. Read More »
June 27, 2016 | by Matt Gallagher
No one could write like Michael Herr. We all tried: scribes and grunts, killers and chroniclers, fool novelists and crackpot journos. Herr’s work doesn’t so much loom over contemporary war writing as course within it, a dark ideal and omen all at once. The electricity of the language. The power—and futility—of bearing witness. The howling, howling rage. Whether you were reading him for the first or the hundredth time, you always felt like his pages were offering a strange air; not oxygen exactly, but still something vital. Dexedrine breath, maybe, like dead snakes kept too long in a jar.
That’s one of his lines, of course. No one could write like Herr.
Herr, a titan of New Journalism, died last week, at the age of seventy-six. He made his name in Vietnam as a young Esquire correspondent who shunned official briefings for infantry patrols in the jungle and helo assaults with the air cav. He sometimes carried a rifle to gain access, and once told the Boston Globe, “I only had to use a weapon twice. And I had to, I had to. It was impossible not to.”
February 18, 2016 | by Sadie Stein
At the time of this interview, Mrs. Parker was living in a midtown New York hotel. She shared her small apartment with a youthful poodle that had the run of the place and had caused it to look, as Mrs. Parker said apologetically, somewhat “Hogarthian”: newspapers spread about the floor, picked lamb chops here and there, and a rubber doll—its throat torn from ear to ear—which Mrs. Parker lobbed left-handed from her chair into corners of the room for the poodle to retrieve—as it did, never tiring of the opportunity. The room was sparsely decorated, its one overpowering fixture being a large dog portrait, not of the poodle, but of a sheepdog owned by the author Philip Wylie, and painted by his wife. The portrait indicated a dog of such size that if it were real, would have dwarfed Mrs. Parker, who was a small woman, her voice gentle, her tone often apologetic, but occasionally, given the opportunity to comment on matters she felt strongly about, she spoke almost harshly, and her sentences were punctuated with observations phrased with lethal force.
That description comes from the introduction to Dorothy Parker’s 1956 Paris Review Art of Fiction interview, a document of unusual (sometimes harsh) honesty, and great humor. I've always tried to envision that scene: the writer, battling depression and alcoholism, her career (to her eyes) in twilight—and so was fascinated to run across this snapshot in the New York Public Library’s digital archive. It pictures Parker—petite, with signature chignon and bangs—in a distinctly midcentury room, seated on a dun-colored sofa with two poodles. Before her on a marbled coffee table is a fairly hideous arrangement made up at least in part of dried eucalyptus stems, which puts the viewer in the unusual position of being able to imagine the smell of the scene: eucalyptus and dog, with hints of coffee. (I assume coffee, rather than tea, although feel free to disagree.) The only real mystery—besides where she is, and who took the picture—concerns the pink plush thing on the stack of magazines. Hat? Chew toy? Lamb Chop? But then, as Parker herself wrote in Esquire in 1959, “In all reverence I say Heaven bless the Whodunit, the soothing balm on the wound, the cooling hand on the brow, the opiate of the people.” Update: a colleague feels strongly that it is a bedroom slipper “filled with either dog food or gold coins,” possibly the chocolate Hanukah kind.
Sadie Stein is contributing editor of The Paris Review, and the Daily’s correspondent.