Posts Tagged ‘Frederick Seidel’
May 6, 2014 | by John Jeremiah Sullivan
At our Spring Revel last month, John Jeremiah Sullivan presented the Hadada Award to Frederick Seidel. Sullivan’s remarks follow, along with three of Seidel’s poems, which were read aloud that night: “Downtown,” read by Zadie Smith; “Frederick Seidel,” read by Martin Amis; and “The Night Sky,” read by Uma Thurman.
As a kind of offsite, ersatz staff member at The Paris Review, I claim the pleasure both of thanking you all for your presence here, and of thanking everyone at the Review—Lorin, and the board, and my colleagues there—for giving me the honor of announcing this award. I don’t think I’ve ever used the word honor in a less glib manner.
When you are in your twenties and living in the city, or any city, or anywhere, and trying to write, there are poets whose work will come to mean something to you beyond pleasure, beyond even whatever we have in mind when we use the word inspiration, and into the arena of survival, into what the poet whose work we are celebrating tonight describes as the “what will save you factor.”
When I was in my twenties and living in New York, the poet who came to mean that for me and a lot of the other younger writers and editors I knew was one named Frederick Seidel, a poet who had come, like another we’d heard about, from St. Louis via Harvard, and from there, via everywhere. Read More »
April 12, 2014 | by Dan Piepenbring
Massimo Tamburini died last Sunday, at seventy. Tamburini was an Italian motorcycle designer; his work for Ducati, Cagiva, and MV Agusta set the standard for art and style. The journalist Kevin Ash said that Tamburini’s design for the Ducati 916, which debuted in 1994, “moved it forward, personalized, and Ducati-fied it, in particular the blend of sharp edges and sweeping curves, which, like most innovation, broke existing rules.” And this week’s obituary in the Times found many enthusiasts who were unstinting in their praise:
For decades Mr. Tamburini reigned as “the Michelangelo of motorcycling,” as The Sunday Express, the British newspaper, called him in 2010, and his work exerted a pervasive influence on the look of motorcycles in the late 20th century.
“He always gave great élan to the shapes,” Bruno dePrato, the European editor of Cycle World magazine, said in a telephone interview on Wednesday. “This élan is not aggressiveness, with very edgy shapes and other excesses in styling. His bikes were just shaped by the wind.”
As it happens, Frederick Seidel, whose readers know him as a Ducati aficionado, had paid homage to Tamburini and the Ducati 916 in his poem “Milan,” from the 1998 collection Going Fast. (Curiously enough, Jonathan Galassi also read the final lines of “Milan” in his salute to Seidel at our Spring Revel on Tuesday; read on and you’ll see why.) In memory of Tamburini and his legendary designs, we’ve reprinted the poem here. Read More »
April 11, 2014 | by Dan Piepenbring
We’re still recovering from Tuesday’s Revel, where some five hundred people gathered to honor Frederick Seidel with the Hadada Award, presented by John Jeremiah Sullivan. Lydia Davis presented Emma Cline with the Plimpton Prize for Fiction; Roz Chast presented the Terry Southern Prize for Humor to Ben Lerner; and Martin Amis, Zadie Smith, and Uma Thurman all read from Seidel’s work. We could say a good time was had by all, but why not let the pictures tell the tale? It was a spectacular evening. You can read accounts of the fun from Page Six, Women’s Wear Daily, and Guest of a Guest. Be sure to take a look at all the photos here, too. See you next year!
Photos by Clint Spaulding / © Patrick McMullan / PatrickMcMullan.com
April 8, 2014 | by Dan Piepenbring
Tonight, at our Spring Revel, we’ll honor Frederick Seidel with the Hadada Award. In the weeks leading up the Revel, we’ve been looking back at the work Seidel has published in The Paris Review throughout his career.
When I first read “Arabia,” which appeared in our Summer 2011 issue, I was sitting on a rickety chair looking out at Lake Michigan. It was a gorgeous day in late June, a twenty-one-year-old cat was asleep at my feet, and I’d just started to sweat in the sun when I read the poem’s first lines:
I move my body meat smell next to yours,
Your spice of Zanzibar. Mine rains, yours pours—
Sex tropics as a way to not be dead.
I don’t know who we are except in bed.
This was before I’d read much of Seidel’s work, and these lines felt outrageous to me, especially that long row of monosyllables, “as a way to not be dead.” It was the perfect poem to read on a summer vacation—as long as it went on, I was living in a kind of lewd Zanzibar of the the mind.
With its ostentatious rhymes (Labia with Arabia), its nods and winks to the politics of the day (“The president of the United States / Is caught between those two tectonic plates, / Republicans and Democrats”) and its flagrantly oversexed images (a cowboy sipping honey from a pair of sweet lips), “Arabia” now reads to me like vintage Seidel—the way it forces the visceral and the bodily to coexist with the elegant, the faint taunt that comes in a line like “I’m happy staring at what makes me stare.” It also contains what you might read as an incidental summary of Seidel’s poetics: “It’s politics, it’s tropics, and it’s warm.” (And it is, like sex tropics, a great way not to be dead.) After that first stanza, it continues:
I’ll tell you someone I’m not happy with—
But no I won’t. I won’t destroy the myth.
The president of the United States
Is caught between those two tectonic plates,
Republicans and Democrats, the nude
Alternatives to naked solitude.
It’s politics, it’s tropics, and it’s warm
Enough to arm the sunrise with a car alarm
That’s going off and starts the earthquake shake
And shiver, shiver, of the sobbing steak.
O sweet tectonic fault line and sweet lips
Exuding honey that the cowboy sips.
Read the whole poem here.
March 25, 2014 | by Lorin Stein
On April 8, at our Spring Revel, we’ll honor Frederick Seidel with the Hadada Award. In the weeks leading up the Revel, we’re looking at Seidel’s poems.
Over the weekend, I turned on Studio 360. A cardiologist was describing the health benefits of dance—and this cardiologist was none other than Holly Andersen, hero of a great poem by Frederick Seidel, from his 2006 collection, Ooga-Booga. Dr. Andersen is also the dedicatee of the poem. I guess you could say she is its muse, but hero is the better word. This is a poem about heroism: doing your job in the face of death. It happens also to be a love poem, for in Seidel’s work love and admiration are rarely far apart. I never have a drink at the Carlyle Hotel without thinking of the first lines, and I think of the last lines much more often than that.
Seidel has never given a public reading, but he has made several recordings of his poems, including this one. I played it as soon as the segment was over.
What could be more pleasant than talking about people dying,
And doctors really trying,
On a winter afternoon
At the Carlyle Hotel, in our cocoon?
We also will be dying one day soon.
Dr. Holly Anderson has a vodka cosmopolitan,
And has another, and becomes positively Neapolitan,
The moon warbling a song about the sun,
Sitting on a sofa at the Carlyle,
Staying stylishly alive for a while.
Her spirited loveliness
Does cause some distress.
She makes my urbanity undress.
I present symptoms that express
An underlying happiness in the face of the beautiful emptiness.
She lost a very sick patient she especially cared about.
The man died on the table. It wasn't a matter of feeling any guilt or doubt.
Something about a doctor who can cure, or anyway try,
But can also cry,
Is some sort of ultimate lullaby, and lie.
March 18, 2014 | by Dan Piepenbring
On April 8, at our Spring Revel, we’ll honor Frederick Seidel with the Hadada Award. In the weeks leading up the Revel, we’re looking back at the work Seidel has published in The Paris Review throughout his career.
“Flame” appeared in our Spring 1981 issue, which included stories by Faulkner, Carver, and Gass; poems by Amiri Baraka and Maxine Kumin, both of whom died earlier this year; and an interview with Rebecca West.
With its images of fireflies, moonlight, and waves, the poem finds Seidel at his most earnest; a muted sadness, almost romantic, permeates “Flame,” which is devoid of the wry, lacerating ironies that usually mark his work. And it finishes with one of the most quietly perceptive descriptions of, well, a flame that I can remembering encountering. Here, best to read it for yourself; the poem is more beautiful than any writing about it will be.
The honey, the humming of a million bees,
In the middle of Florence pining for Paris;
The whining trembling the cars and trucks hum
Crossing the metal matting of Brooklyn Bridge
When you stand below it on the Brooklyn side—
High above you, the harp, the cathedral, the hive—
In the middle of Florence. Florence in flames.
Like waking from a fever ... it is evening.
Fireflies breathe in the gardens on Bellosguardo.
And then the moon steps from the cypresses and
A wave of feeling breaks, phosphorescent—
Moonlight, a wave hushing on a beach.
In the dark, a flame goes out. And then
The afterimage of a flame goes out.
Buy your ticket to the Revel here.