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Posts Tagged ‘flight’

A Generic Statement About Haystacks, and Other News

December 11, 2015 | by

Claude Monet, Wheatstacks, Snow Effect, Morning, 1891.

  • Our new Winter issue, hot off the presses, features poems from A New English Grammar by Jeff Dolven. One of them, “*The Haystack’s Painting,” has occasioned a roiling linguistic-grammatical debate at Language Log. “I would have no problem with a sentence such as ‘We sat in the haystack’s shadow’ in any case, but the case at hand is not a generic statement about haystacks,” one reader writes: “The body of the poem personifies the haystack, so it seems perfectly consistent that the title does also. If the reader is caught short by the title, only to have the tension relaxed by personification in the following lines, this is to the poet’s credit.” Another says, “I’m not quite sure what’s being considered ungrammatical about ‘The haystack’s painting.’ Haystack is a noun; nouns have possessive forms. It’s certainly unusual to consider the subject of a painting to be the ‘owner’ of that painting, but I think it’s quite an effective poetic device here.”
  • The poet Stephen Spender kept his sexuality a secret—a burden he managed only with the belief that leading a double life was completely ordinary for a writer. “In the 1990s, when literary parties were more fun, or I was more fun, I used occasionally to see Stephen Spender,” Andrew O’Hagan writes: “there he was, the establishment on quivering legs, queer as a chocolate orange but safely married. (When I spoke to him, I discovered he could flirt with his eyes shut.) … ‘Just do your thing,’ one wishes to say to him, but he was doing his thing, and part of that thing was not really to know what his thing was. Sexual identity gets all the limelight, but sex itself wasn’t particularly important to Spender and the freedom he harped on about, and feared losing as a result of his domestic decisions, was the freedom to write as he wanted to.”
  • Today in length: books have more of it than ever. A survey found that the average number of pages in a book has increased by 25 percent since 1999—to four hundred pages. “The real struggle is publishing an unremarkably-sized book,” one agent says: “the most difficult area now appears to be the middle. Mid-list, mid-career, middle-sized—in fact anything that’s middling.”
  • Jewels, vases, statues, masks, vessels … you name it, the Ancient Greeks had it in gold. And now this plunder is ours, all ours: “We learn a great deal about Greek art by being grave robbers. The immensely privileged eased themselves into the afterlife with much of the booty that had cushioned their time on earth. It seems they aimed at taking along enough symbols of power and wealth to get whatever passes for honor in the underworld. Greek and Roman rulers and victors wore wreaths more often than crowns; so we find gold imitations of the rich foliation of crowns made from different tree branches. Phillip II was buried in an underground miniature temple wearing an oak leaf wreath made with stunning realism by his little army of goldsmiths.”
  • People have been flying in the movies for more or less as long as they’ve been flying in real life. The plane, in cinema, has long functioned as an essential piece of visual vocabulary, and also as propaganda. During World War II, the military commissioned directors like William Wyler to bring a glorious variant aerial combat into movie houses: “Wyler and his crew embedded (as we might now say) with the 91st Bomb Group. They took their sixteen-millimeter cameras on bombing runs … The results of his time with the 91st Bomb Group were assembled into a short documen­tary called Memphis Belle (1944), which James Agee praised for its immediacy. ‘I could not guess which shots were re-enacted and which were straight records,’ Agee confessed, and postwar movies would often aspire to induce precisely this confusion. Agee had an ethical commitment to documentary, and a temperamental suspicion of artifice, and during the war his insistence on the literal, visceral truth reflected the biases of the filmmakers themselves, who often battled Army censors over how much unvarnished reality they could show.”

The Paris Review of the Air, Land, and Sea

May 4, 2015 | by

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Samantha Hahn’s illustration of a flight attendant from the cover of our Winter 2013 issue.

For its front-cabin passengers, United Airlines is turning Rhapsody into the Paris Review of the air, attracting authors like Joyce Carol Oates and Anthony Doerr.
New York Times, May 3, 2015

Fly first class on United Airlines and you’ll get a complimentary literary magazine called Rhapsody. We’re flattered that the Times has seen fit to compare this lavish bit of swag to the Review. But what to read if you’re stuck in economy with the rest of us? Don’t despair—the “other” Paris Review travels everywhere, and it comes with some perks of its own.

 

  1. Stories about the misery that is actual air travel. Rhapsody avoids writing about “plane crashes or woeful tales of lost luggage or rude flight attendants.” But we’ve explored the dark side of the skies since 1978: “The stewardess who smells like a dead dog has already rolled me over so that I won’t aspirate if I vomit” (Dallas Wiebe, “Night Flight to Stockholm,” issue 73). 

 

  1. Writing about sex. We’re not going to have someone write about joining the mile-high club,” proclaims the editor in chief of Rhapsody. We make no such promise. As publishers of grown-up stories about grown-up life, we believe in frank depictions of eros—at cruising altitude or any other. 

 

  1. One one-hundred-seventy-fifth of the cost. First-class flights from New York to Paris start at about seven thousand dollars. You can get a year of The Paris Review for forty bucks. 

 

Subscribe now. You’re first class to us.

More Things in Heaven and Earth

January 21, 2015 | by

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Photo: Ben Salter, 2006, via Flickr

On this date in 1976, the Concorde started flying commercial passengers on London-Bahrain and Paris-Rio routes. For the next twenty-seven years, this fleet of turbojets would ferry the rich and famous betwixt glamorous world hubs with unprecedented speed and luxury. And when the Concorde ended its reign, following a 2000 crash and a global post-9/11 flying slump, it was regarded as the end of an era.

For many—particularly anyone in its flight path—this was a relief. And since its inception, critics had regarded the gas-guzzling fleet as indefensible. In perhaps the ultimate eighties quote, Linda Evangelista declared, “If they had Nautilus on the Concorde, I would work out all the time.” It’s probably this tinge of decadence that’s burnished Concorde’s image in the years since its end. The tenth anniversary in 2013 spawned tributes and slideshows, images of spa-food menus and full bars, memories of the jet-setting clientele and the monogrammed napkins and crockery that these jet-setters famously stole as souvenirs. (Well, Andy Warhol anyway.) Read More »

Think Big

January 14, 2015 | by

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Image via Wikimedia Commons

We are told it is a liability to be thin-skinned, and it’s true that these are bad times for it. When an Internet slight makes you question your path in life, an encounter with a surly stranger results in canceled plans, and the day’s news derails your day, you are at the whims of fortune. And a life without perspective, like a painting, is disorienting.

But the porousness goes both ways, doesn’t it? And if everything looms large, the world’s kindnesses are equally outsized, like in that store Think Big, which only carried enormous versions of things. Maybe you didn’t want a giant jar of mustard. But the fact that it existed meant that you could also have a six-foot Dixon Ticonderoga No. 2, so. Read More »

Letter from an Airplane

December 26, 2012 | by

Liane de Pougy, Paris, 1890s.

We’re out this week, but we’re re-posting some of your favorite pieces from 2012 while we’re away. We hope you enjoy—and have a happy New Year!

Dear Friends,

There are moments I suspect we are not living in the Golden Age of Travel.

I speak as someone who enjoys nearly everything, mind you, from the novelty of sipping in-flight tomato juice to the thrill of meeting the passenger in the next seat. But even I (a half-wit, apparently) found last Tuesday’s flight to Portugal less than easy going.

We cut it close; my traveling companion, Matthew, was late to meet me and the result was the sort of last-minute dash that’s both exhilarating and draining. I was allowed in an accelerated line for irresponsible travelers but found myself behind a man who not only seemed in no hurry but had to remove three pieces of heavy jewelry, one at a time, each time the metal detector went off. He did so with an infuriatingly sanguine smile. I hated and envied him. Passengers were boarding when I sprinted up, some ways ahead of Matthew. The gate, C71, and the plane were absolutely crammed with some forty assorted kids, ranging in age from about eleven to fifteen. One of their chaperones, a hearty lady in a tracksuit, explained to me they were on their way from Indiana to an international cheerleading competition three hours outside of Lisbon. When I arrived at 29A (aisle) I discovered the middle seat, intended for my traveling companion, was occupied by a tween of some thirteen years. She and her friend regarded me with terrified bravado. “If you’re sitting here,” one of them said quickly, “you should know that we have to sit together. We’re roommates.”

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Hear That Lonesome Gasket Blow: Part 1

December 11, 2012 | by

In the aisle of the Boeing 737 sardine tin, a wild-eyed, whiskered man—late twenties—held up the smooth flow of Seattle-bound passengers with frantic attempts to stow his carry-on. The impedimenta in question seemed to yours truly a destination-appropriate one: secured to his bulging backpack with yards of duct tape, a skateboard jutted. As he stooped to unwrap the thing, provoking more than a few pursed lips from the jammed queue, he bickered with the flight attendant.

“Can’t I just keep it in my lap?”

“If you can’t fit it in the overhead compartment, you’ll have to check it plane-side.”

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