Posts Tagged ‘ESPN’
June 1, 2015 | by The Paris Review
Our new Summer issue features work in and about translation. There’s a story from Andrés Neuman and a sneak peek at Michel Houellebecq’s controversial novel, Submission, plus poems by Coral Bracho, Xi Chuan, Radmila Lazić, and Iman Mersal. At its center are two interviews in our Art of Translation series—first with Richard Pevear and Larissa Volokhonsky, who have been married for thirty-three years and whose thirty-odd translations include The Brothers Karamazov, Crime and Punishment, War and Peace, Anna Karenina, and Chekhov’s Selected Stories. “Very naive readers think you take the Russian and you put it in English, and then you’re done,” Pevear says. Read More »
June 20, 2014 | by The Paris Review
After reading David Constantine’s story “In Another Country,” which the Canadian publisher Biblioasis passed along to me, I can’t figure out why a U.S. press hasn’t caught on to his work. He’s won a number of big prizes, including the Frank O’Connor International Short Story award twice—last year, he beat out Joyce Carol Oates, Deborah Levy, and Peter Stamm—and no wonder: this story has me wanting more. (Thankfully, Biblioasis will publish a selection of his stories next year.) The sentences are restrained, the tone muted. The remoteness between the husband and wife of the story is never described but is made palpable through the stillness in their interactions and the spareness of the prose, but the tension created by the slow unraveling of the past within the present is innervating: “What worried Mrs. Mercer suddenly took shape. Into the little room came a rush of ghosts. She sat down opposite him and both felt cold. That Katya, she said. Yes, he said. They’ve found her in the ice. I see, said Mrs. Mercer.” If you get excited, as I do, by stories in which very little happens, then this one is for you. —Nicole Rudick
In 1949, Niki de Saint Phalle and Harry Mathews eloped together, both a bit shy of their twentieth birthdays. The ten-year marriage that followed saw joy, sorrow, electroshock therapy, disapproving parents, reprimanding neighbors, two children, suicidal episodes, numerous infidelities, artistic awakenings, homes in more than four countries, and, ultimately, insurmountable growing pains. In Harry and Me: 1950–1960, The Family Years, de Saint Phalle chronicles their famous, tumultous relationship in verse and image. A remarkably generous portrait of their time together—it includes sidebars of text written by Mathews in response to de Saint Phalle’s account, in which he corrects and addends but never criticizes—this book is a must-read for anyone interested in the work of either artist. Their developmental years were spent in stride, and the naïveté that brought them together (and eventually drove them apart) was instrumental in shaping their artistic desires, particularly the whimsy and color that marks de Saint Phalle’s sculpture. Though the relationship ends, the children suffer, and the hurt never truly goes away, neither party, many years later, seems to regret the marriage. Instead, they go to bat for the young, reckless love that directed the course of their lives. —Clare Fentress
Lots of people are nostalgic for rotary phones and handwritten letters. Not so many have the same wistfulness for the telegraph. But William Saroyan’s “1, 2, 3, 4, 5, 6, 7, 8,” from his 1934 short story collection The Daring Young Man on the Flying Trapeze, has left me rethinking the old teletype machine and its nuanced relation to our digital age. The story tells of two telegraph operators, who meet—virtually—by striking up a conversation over the wires. Saroyan’s depiction of the giddy thrill of instantaneous, faceless communication, in which half the fun is in the imagined possibilities, seems oddly anachronistic to the modern reader, but it also predicts the appeal of instant messaging and texting. From the first hello hello hello, the narrator realizes the untapped opportunity of his teletype machine as a personal device of contact, of love: “I had never thought of the machine as being related in any way to me … I began to try to visualize the girl. I began to wonder if she would go out with me to this house I wanted and help me fill it with our lives together.” —Chantal McStay Read More »
March 15, 2012 | by Andrew Palmer
I recently turned thirty, the age by which, according to William James, “the character has set like plaster, and will never soften again.” But he wrote that in 1890, before mobile devices and selective serotonin reuptake inhibitors and Lana Del Rey and the fragmentation of the self, and I’m happy to report that my character is as soft as unhandled Play-Doh. For the past year I’ve slept mostly in well-worn twin beds generously provided by writing colonies, my life a new kind of nomadism made possible by America’s patrons of the arts. Every morning I get up at seven, or seven thirty, or eight, or eleven, and record my dreams, or forget them, then make my bed, or not, after which I proceed immediately to take a shower, or start the coffee, or eat breakfast, or go for a walk, then sit down at my desk to begin the day’s work, or write e-mails, or stare out the window, or do absolutely anything else. I usually end my day by reading a book, or talking on the phone, or watching basketball highlights on ESPN.com, or wondering why I keep the channel on Jimmy Fallon when every instance of empty enthusiasm makes me loathe him a little more.
William James again: “There is no more miserable human being than one in whom nothing is habitual but indecision, and for whom the lighting of every cigar, the drinking of every cup, the time of rising and going to bed every day, and the beginning of every bit of work, are subjects of express volitional deliberation. Full half the time of such a man goes to the deciding, or regretting, of matters which ought to be so ingrained in him as practically not to exist for his consciousness at all. If there be such daily duties not yet ingrained in any one of my readers, let him begin this very hour to set the matter right.” This very hour.
Habits are for squares, is what I’ve always felt. Read More »