Posts Tagged ‘drinking’
August 18, 2016 | by Adam O’Fallon Price
Why are there so many bars in my novel?
Novels are long, and you have to fill them with stuff, and that stuff tends to accumulate in patterns, laying bare your preoccupations. If you’re hung up on something, there’s a good chance it will appear, somehow, in the production of three to four hundred pages of fiction. For instance, Wallace had tennis; Joyce had meat. (“Steak, kidney, liver, mashed at meat fit for princes.”) Rereading my debut novel, The Grand Tour, I’ve discovered I have an obsession, too: I like bars.
Even for a novel about an alcoholic writer and bartender, my book has a lot of bars. Sixteen, in fact: sixteen instances in which characters appear at sixteen different bars. Seemingly at every chance, Richard, The Grand Tour’s protagonist, walks into bars, sits down, and drinks. I knew the book featured a lot of bars, but sixteen is more than I’d imagined, and it raises some troubling questions. Whence these many saloons? Whither these sundry watering holes? And what’s wrong with diners, or teahouses, or hookah lounges? Read More »
May 16, 2016 | by Dan Piepenbring
- I find novels starring people—or any animate creatures, really—to be unthinkably dull. For this reason I do most of my reading in the mid to late eighteenth century, when novels with inanimate objects at their centers enjoyed a brief but memorable time in the literary limelight. The most famous one was told from the perspective of a coin: “Chrysal, or the Adventures of a Guinea thrilled contemporary readers with ‘Views of several striking Scenes,’ an insider’s account of the scandalous doings of the ‘most Noted Persons in every Rank of Life,’ and tales from the gold mines of Peru, the streets of London, the canals of Amsterdam, the ports of the Caribbean, and the front lines of the Great War … It was a tipping point for what are frequently referred to as ‘it-narratives.’ It-narratives, also called ‘novels of circulation’ or ‘object narratives,’ are novels or stories that take an inanimate object or an animal as its narrator … With a market proven, writers for hire began churning them out with variable quality. By 1781, a bored reviewer in The Critical Review complained, ‘This mode of making up a book, and styling it the Adventures of a Cat, a Dog, a Monkey, a Hackney-coach, a Louse, a Shilling, a Rupee, or—any thing else, is grown so fashionable now, that few months pass which do not bring one of them under our inspection.’ ”
- In which Nabokov, talking to us from 1926, attempts to make sense of his exile: “There is a very seductive and very dangerous demon: the demon of generalities. He captivates man’s thought by marking every phenomenon with a little label, and punctiliously placing it together with another, similarly carefully wrapped and numbered phenomenon. Through him a field of human knowledge as changeable as history is turned into a neat little office, where this many wars and that many revolutions sleep in folders—and where we can pore over bygone ages in complete comfort. This demon is fond of words such as idea, tendency, influence, period, and era. In the historian’s study this demon reductively combines in hindsight the phenomena, influences, and tendencies of past ages. With this demon comes appalling tedium—the knowledge (utterly mistaken, by the way) that, however humanity plays its hand or fights back, it follows an implacable course. This demon should be feared. He is a fraud. He is a salesman of centuries, pushing his historical price list.”
- Today in dramatic acts of digital preservation: if ever the Daily shuts down, we hope to survive in a kind of bardic oral tradition, having former readers pass down our stories one at a time through the generations, at great length and with little regard for accuracy. The website hi.co, which I’d never heard of before about ten minutes ago, is taking fewer chances. Instead of vanishing into the mists of time, they’re keeping their users’ contributions “in a nickel-plate ‘book’ designed to be readable for the next 10,000 years … Everything on the site—roughly two million words and fourteen thousand photos—will be etched in microscopic size onto a series of nickel plates. Everything will be readable with an optical microscope.” (One of the site’s founders notes that the plates are “fire resistant” and “deal well with saltwater.”)
- Some drink to remember, some drink to forget. Pour yourself a glass of marc and you can do both: “With marc, my favorite digestif, both the mortality and the miracle are there in the glass: sip it and you taste the pulverized remains (stems, grape skins, pips) of the wine refined to make it, as well as experiencing resurrection through distillation, in those unpromising oenological afterthoughts given new life. A marc is like a vanitas, the skull that artists once included in paintings to deliver a warning that no pleasure, however great, can last. Behind the smooth sophistication of strong, well-made alcohol, there is the musty hint of old grape skins—a pungent reminder that even the magic of alcohol cannot make a grape, or a drinker, eternal.”
- Philosophy departments are among the most Eurocentric in all of academe—which is fine, as long as they practice truth in advertising. Write to your congressman: “Any department that regularly offers courses only on Western philosophy should rename itself ‘Department of European and American Philosophy’ … We hope that American philosophy departments will someday teach Confucius as routinely as they now teach Kant, that philosophy students will eventually have as many opportunities to study the Bhagavad Gita as they do the Republic, that the Flying Man thought experiment of the Persian philosopher Avicenna (980–1037) will be as well-known as the Brain-in-a-Vat thought experiment of the American philosopher Hilary Putnam (1926–2016), that the ancient Indian scholar Candrakirti’s critical examination of the concept of the self will be as well-studied as David Hume’s, that Frantz Fanon (1925–1961), Kwasi Wiredu (1931– ), Lame Deer (1903–1976) and Maria Lugones will be as familiar to our students as their equally profound colleagues in the contemporary philosophical canon. But, until then, let’s be honest, face reality and call departments of European-American Philosophy what they really are.”
April 14, 2016 | by Dan Piepenbring
When The Paris Review last interviewed Mark Leyner, in 2013, he announced his next book. “Gone with the Mind is my autobiography in the form of a first-person-shooter game,” he said. “You’ll have to blast your way back into my mother’s womb.”
Now, three years later, Gone with the Mind has arrived, and it’s … almost nothing like that. The autobiographical elements are intact, yes, and Leyner’s mother appears early and often—but the notion of a first-person shooter is unceremoniously jettisoned on page forty-six. (“Pretty much everyone I mentioned it to thought it sounded really cool, but what is that, actually? What would a book like that actually be, y’know?”) In its place is a loose frame story in which Leyner appears at the Nonfiction at the Food Court Reading Series at Woodcreek Plaza Mall, where he reads before a crowd of precisely three: a Panda Express employee on break, a Sbarro employee on break, and his mom.
The introductory speech he gives comprises the bulk of Gone with the Mind, a discursive farrago that touches on Freudian mother-son dynamics, constructivist aesthetics, fascist metaphysics, Twizzlers, women’s antiperspirant commercials, prostate cancer, and formative episodes from his youth. In earlier novels, Leyner cast himself as a paranoid egomaniac (Et Tu, Babe) or a feckless, oversexed adolescent (The Tetherballs of Bougainville), but the Mark Leyner we meet in these pages is transparent, erudite, self-deprecating, even tender. This is an autobiography that dramatizes its own creation—the pathos in attempting to express “the chord of how one feels at single given moment, in this transient, phantom world.”
I met Leyner at Marco & Pepe, a restaurant in Jersey City, where he arrived with a copy of Gershom Scholem’s The Messianic Idea in Judaism tucked under his arm. We began our conversation by learning, courtesy of our waitress, what a Portuguese muffin is.
So it sounds kind of like an English muffin, but bigger.
Does that mean anything called Portuguese is just a bigger variant of the English version?
Yes. Portuguese-breakfast tea is just a vat of English-breakfast tea. Anyway—it’s been three years since your last interview with the Review. I gather there’s been a sort of formalist struggle for you since then.
I waited on the idea for this book for a very long time. It’s important to me that each book is starting from scratch. I’m trying to think of a vital, unprecedented idea for a book that I haven’t seen. It’s not because I’m so ambitious—it’s just the way I’ve always worked. I have a feeling it comes from my being most engaged and inspired by visual artists when I was younger. Duchamp, Picabia, all the Cubists, Apollinaire and his people, André Breton, his people. And then all the great Abstract Expressionists, whom I adore still. I’m a big Clement Greenbergian. I’m a high formalist. I would always say that when, back in the day, people talked about postmodernism and things. I thought, No, I’m a card-carrying modernist, and I’m proud to say it. I approached this book in a formal way. How does one represent an autobiography, which in itself is a representation of confabulated memories? I began thinking about my mother—the meals we used to have at various restaurants and how we’ve always been so keen to make an audience out of each other. And that’s one of the really fundamental themes of this book—how intimates make audiences of each other. I really do think there’s a reading of this book that sees it as just me and my mom talking, and the rest of it being some kind of wonderful filigreed delusion—this pathetic event. Read More »
January 18, 2016 | by Dan Piepenbring
Any Joe with a Twitter account will tell you that today is Blue Monday, the most depressing day of the year. It’s a claim that rests mostly on a bunch of pseudoscience and a dubious 2005 ad campaign for a travel agency. Even so, a whole cottage industry has risen up around our apparent mid-January slump—especially in the UK, where people are always kind of miserable anyway. Tesco superstores are giving away free fruit; the BBC’s Scotland bureau has urged citizens to stay cheery by reminding themselves that the ski forecast is good and that the Spice Girls may soon reunite.
Though claims as to our collective depression have long been debunked, I wondered about the origin of the phrase “Blue Monday,” which clearly predates this latest usage. There was that great New Order song from 1983, for starters, and the subtitle to Vonnegut’s Breakfast of Champions (or Goodbye, Blue Monday) and the Gershwin opera well before that. Evidence from eighteenth-century books suggests that Blue Monday was once just an excuse for working people to get drunk, and it happened every Monday, because our ancestors have long known what any casual reader of Garfield does: Mondays are for the birds. Read More »
October 30, 2015 | by Dan Piepenbring
A letter from Lord Byron to Thomas Moore, dated October 31, 1815. Read More »
April 2, 2015 | by Dan Piepenbring
From Ernest Hemingway’s letter to Colonel Charles T. Lanham, April 2, 1945. Hemingway described Lanham as “the finest and bravest and most intelligent military commander I have known”; he did, in fact, go on to make general. Original spelling and punctuation retained.
Now I just feel homesick, lonely and useless. But will pull out of it. Because have to.
Also have cut out heavy drinking … and since Liquor is my best friend and severest critic I miss it. Also have explained to my old girls there is nothing doing—and this light drinking, righteous Life isn’t comparable to always haveing at least two bottles of Perrier Jouet in the ice bucket and the old Kraut Marlene [Dietrich] always ready to come in and sit with you while you shave […] Read More »