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Posts Tagged ‘feminism’

Beauty, Truth, and The Girls: An Interview with Emma Cline

July 19, 2016 | by

Emma Cline.

Emma Cline’s debut novel, The Girls, may be loosely based on the Manson murders, but it isn’t really about Manson at all—it’s about the women around him, those attracted to life at the edge of the world. Though the book circles around the blunt facts of Manson’s crimes, it sidesteps the particulars, reducing him to a pitiful, failed musician named Russell whose only talent is tending to his wilting garden of devotees. Instead of dwelling on him, the novel follows fourteen-year-old Evie Boyd, who’s increasingly enthralled by one of the older girls in Russell’s circle.

Cline, a winner of The Paris Review’s Plimpton Prize, writes with the kind of beauty the painter Agnes Martin once described as “an awareness in the mind.” “Marion,” Cline’s story in the Review’s Summer 2013 issue, opens with the line, “Cars the color of melons and tangerines sizzled in cul-de-sac driveways.” The Girls is set against a dreamy, at times abstracted, California landscape. Her descriptions shimmer on the page: trying to mimic a girl she admires, Evie stands straighter, “holding my head like an egg in a cup”; a teenage boy’s room reeks of masturbation, “a damp rupture in the air”; girls are “swampy with nostalgia.”

Though she’s encouraged by the warm response The Girls has received, Cline eschews the public eye. “I’m used to the isolated part of writing, the part where you’re doing a lot of work alone, in solitude,” she told me. When we spoke on the phone last month, she’d just landed in LA for a reading. I asked her how long she’d be out West. “Just another week or so,” she said, “and then I’m at large.” Read More »

Destroy Capitalism by Watching Clouds, and Other News

July 13, 2016 | by

John Constable, Wolken-Studie, 1822.

  • Rukmini Callimachi reports on ISIS for the New York Times—a demoralizing, tormenting, dangerous beat. She constructs her pieces like poems: “My formation as a writer was as a poet. I tried very early on to be a poet and I published about a dozen poems in America and in American journals before I realized that this was a totally dead-end street as a career. In terms of poetry, one of the people who really marked me was Ezra Pound, who was a modernist poet and talks about the importance of distilling an image. The idea is that you have an image that you want to convey. Beginning and even intermediate writers will end up drowning that image in prose. The idea is that you look at the prose almost like a tree. You have to pare it down. You have to take out all of the extra limbs, all of the extra shrubbery so that you can really see the form. That idea, which I tried to practice in poetry, is one that I very much try to practice in journalism: to try to distill the language. I pick my adjectives carefully. I try to build stories around images because I think that’s the way that the human brain works when you are reading a story.”
  • A new wave of memoirs aim to advance feminism through confessional-style sexual candor, but Rafia Zakaria argues that they’re merely vehicles for white female entitlement: “We are now in a time where the avowal of nakedness (both physical and emotional) is key, where the publicly exposed woman is truly courageous. The line between titillation and transgression is a fine one and in a voyeuristic world that expects women to all be coquettish exhibitionists, titillation does feminists no favors. To borrow Bitch Media founder Andi Zeisler’s argument in We Were Feminists Once, what we are seeing now is feminism used as a brand; dislocated and disconnected from any collective political project. Sex has always sold well—but feminist sex sells even better … There is a lesson for all women here: declaring a woman’s sovereignty over body and mind must not be reduced to a willingness to be naked, to prurient confessions or anecdotes of despair and self-doubt.”
  • In 2004, Gavin Pretor-Pinney launched the Cloud Appreciation Society, which involves spending a lot of time supine on the grass, gazing at the sky. It’s the latest in a long line of projects to endorse idleness, that most underappreciated of art forms. Colette Shade spoke to him about the politics of loafing: “Aristophanes, the ancient Greek playwright, described the clouds as ‘the patron goddesses of idle fellows’ … He was talking about the way that lying back and finding shapes in the clouds is an aimless activity, and it’s one that’s not going to get you anywhere in life … I always say that cloudspotting is an excuse. It legitimizes doing nothing, and I think that’s valuable these days.”
  • Because today’s true-crime stories are only half as lurid as yesterday’s, let us revisit the events of July 17th, 1895, when, in East London, a thirteen-year-old boy named Robert Coombes stabbed his mom to death. Kate Summerscale writes, “Walker, the medical officer of Holloway gaol, talked to Robert that day about the forthcoming trial. The boy at first seemed gleeful at the prospect of going to the Old Bailey, telling the doctor that it would be a ‘splendid sight’ and he was looking forward to it. He would wear his best clothes, he said, and have his boots well polished. He started to talk about his cats, and then suddenly fell silent. A moment later he burst into tears. Dr. Walker asked him why he was crying. ‘Because I want my cats,’ said Robert, ‘and my mandolin.’ ”
  • A new biography of Diane Arbus prompts Alex Mar to remind us: Diane Arbus is not Diane Arbus’s photographs. “The legend of Diane Arbus has as much to do with a prurient fascination with her personal life as it does with her images. Which makes sense—the line between her life and her work is blurred in the extreme; in a conservative time, she did what few women of her background dared, pushing her personal boundaries, seeking out new territory. But while she’s present in the close encounters that produced her photographs, in every face that stares back at the camera, to confuse the woman with her work is to sell her short. She wrestled with being both a photographer and a mother; she struggled with depression; she put herself in danger over and over again. But as an artist, she was deliberate, calculating, and in control, prepared to do almost anything to grab the image she wanted.”

On a Certain Epigram by Anna Akhmatova

June 21, 2016 | by

Akhmatova

Detail of a portrait of Anna Akhmatova by Kuzma Petrov-Vodkin, 1922.

In my village it’s a famous epigram, but I wonder how many of you are familiar with it. Here it is, complete and unexpurgated, in Anna Akhmatova’s original Russian, from 1958:

Могла ли Биче словно Дант творить, 
Или Лаура жар любви восславить? 
Я научила женщин говорить... 
Но, Боже, как их замолчать заставить!

And now here is a transliteration, with metrical stress represented by bold type, so that the Russianless—or persons like myself with only a year of Russian, the might-as-well-be-Russianless—can have at least some chance of appreciating the sounds. (Note: iambic pentameter, with an inversion in the first foot of line 2.) Read More »

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A Female President for the Nineties, and Other News

June 6, 2016 | by

Photo: Peter Lindbergh/DKNY

  • We’re closer than ever to electing a woman president—a political outcome that seemed fantastical even in 1992, when Donna Karan made an almost farcically outlandish ad campaign called “In Women We Trust” depicting a woman in high office: “Karan’s ads make the presidency look like it was art-directed by Lana Del Rey—all slo-mo and high contrast, shallow focus and delicate, practiced ennui. In Madame President’s ticker-tape parade, her crisp oxford blows open to reveal a presidential décolletage supported by what looks like a black lace bustier. She juggles childcare duties with required reading in a tube top. Our suspiciously youthful commander-in-chief commands the respect of her old, male associates in double-breasted pinstripes and a skirt slit up to there, hair always blown back, nary a part nor pore in sight. It’s a dream within a dream: A woman makes it to the top of the political food chain with her composure, mood lighting, and sensual wardrobe intact.”
  • Indonesia is enormous, beautiful, heterogeneous, populous … but no one is bringing its literature into English, Louise Doughty writes: “There are some countries so vast and diverse that any attempt to summarize them feels insulting: such is Indonesia. With a population of 258 million, it is the world’s fourth most populous nation and the largest formed by an archipelago. When it was guest of honor at the Frankfurt book fair last year, it appeared under the banner ‘17,000 islands of imagination,’ a phrase describing its geography but also encapsulating the complexities of representation … As yet, little of its literature has been translated into English … According to Goenawan Mohamad, Indonesia’s most well-known public intellectual and founder of Tempo magazine, which was banned for a while under the Suharto regime, ‘Asian writing is noticeable only when it comes from the site of calamity. Normally, a prolonged war, preferably one involving the U.S., or a genocide, or a tsunami, brings it to the focus of the world media, and the literary market comes next.’ ”

The State of the Political Novel: An Interview with Édouard Louis

May 3, 2016 | by

Édouard Louis

Édouard Louis, born in 1992, grew up in Hallencourt, a village in the north of France where many live below the poverty line. Now his account of life in that village, written when he was nineteen, has ignited a debate on class and inequality, foisting Louis into the center of French literary life.  

En finir avec Eddy Bellegueule (Finishing off Eddy Bellegueule) is unsparing in its descriptions of the homophobia, alcoholism, and racism that animated Louis’s youth in Hallencourt. “We thought the book would be as invisible as the people it describes,” said Louis, who rejects any romantic views of the “authenticity” of working-class life. His publisher thought the first edition, two thousand copies, would last years. But hundreds of thousands of copies have sold in France, and the book is being translated into more than twenty languages. The novel, which has earned Louis comparisons to Zola, Genet, and de Beauvoir, is set to appear in English later this year.

Eddy Bellegueule can be read as a straightforward coming-of-age story, but beneath its narrative is an almost systematic examination of the norms and habits of the villagers—inspired, Louis has said, by the theories of the French sociologist Pierre Bourdieu. It’s as if he’s taken the whole place and put it behind glass—like observing the inner workings of an anthill.

Who is Eddy Bellegueule, and why do you want to finish him off?

Eddy Bellegueule is the name my parents gave me when I was born. It sounds dramatic, but yes, I wanted to kill him—he wasn’t me, he was the name of a childhood I hated. The book shows how—before I revolted against my childhood, my social class, my family, and, finally, my name—it was my milieu that revolted against me. My father and my brothers wanted to finish off Eddy Bellegueule long before, at a time when I was still trying to save him. Read More »

Dord, and Other News

February 24, 2016 | by

Dord!

  • Foupe, adventine, dentize, kime, morse—these and other non-word words have made their way into English-language dictionaries over the centuries, blurring the line between errata and neologisms. Philologists call them ghost words, and they’re mainly the result of printers’ errors. Jack Lynch writes of the most famous example, from 1934: “Webster’s included many abbreviations in its wordlist, and the compilers planned to include the abbreviation for density … One lexicographer—Austin M. Patterson, special editor for chemistry—typed a 3" × 5" card explaining the abbreviation: he headed it ‘D or d’ … But when it came time to transcribe the card, someone misread it and ran the letters together without spaces, producing ‘Dord, density’ … The entry made it into the dictionary as ‘dord, density.’ It took five years for a Merriam editor to notice the strange entry … The printer removed dord from the next reprint, filling the otherwise empty line by adding a few letters to the entry for doré furnace.”
  • While we’re on dictionaries: Are they sexist? Well, yes. Are they irretrievably sexist? That depends … “Feminists and linguists have been talking about the sexism that lurks beneath the surface of dictionaries since at least the nineteen-sixties … In 1987, the radical philosopher and activist Mary Daly wrote an entry for a word of her own coinage: ‘Dick-tionary, n: any patriarchal dictionary: a derivative, tamed and muted lexicon compiled by dicks.’ Rooting out the sexism in dictionaries was a priority for feminism’s second wave. The nineteen-seventies and eighties witnessed a profusion of alternative volumes like Daly’s, which highlighted biases that belied mainstream dictionaries’ descriptive ideals … The choices about what to include in a dictionary, like the construction of any historical record, are, arguably, inherently political … Feminist linguists argue that, in some instances, lexicographers should put a thumb on the scale.”
  • Today in love and the arts: Georg Friedrich Haas, a world-renowned composer, sent an OkCupid message to his future wife. “Wow—your profile is great … I would like to tame you.” Thus began a different kind of courtship: “In a joint appearance with his wife, who now goes by Mollena Williams-Haas, late last year at the Playground sexuality conference in Toronto, then in an interview this month in the online music magazine VAN, he has ‘come out,’ as he put it, as the dominant figure in a dominant-submissive power dynamic. Mr. Haas has chosen to speak up … because he hopes to embolden younger people, particularly composers, not to smother untraditional urges, as he did … Williams-Haas, who described the situation as feminist because it is her choice, said, ‘I find intense fulfillment in being able to serve in this way.’ She conceded the discomfort many may feel with a black woman willingly submitting to a white man … she added, ‘To say I can’t play my personal psychodrama out just because I’m black, that’s racist.’ ”
  • The other nontraditional composer in the news is the Laser Interferometer Gravitational-Wave Observatory, which has recently detected gravitational waves for the first time in history and converted their signal into audio. “When we listen to the waves that LIGO first played for us, we can tell that the system is quite heavy, since the signal ends a bit lower than middle C on the piano. If the system were lighter, the waves would have ended at a higher pitched note … We know we can hear these waves now, and we want to make our ears better … We want to hear the ghostly whispers of the earliest moments of the universe’s expansion. We want to listen without prejudice and to hear things that for now we can barely imagine.”
  • If space sounds make you anxious, turn your attention instead to Japan’s Kamakura Period (1185–1333), serene statues from which are now on display at the Asia Society of New York: “These mesmerizing sculptures show the sacred being standing quietly above an opening lotus blossom, and dressed in monk’s robes whose folds fall in a cascade of graceful waves. Their power to entrance arises from the near-perfect balance of motion and stillness, symmetry and asymmetry, they display. They do not move and yet they seem to radiate peace … Kamakura statues are miracles of technique. Carved in wood, and hollowed out so that the skin of the sculpture in some parts is not much thicker than cardboard, they weigh almost nothing. They hover on the verge of immateriality.”