Posts Tagged ‘Freud’
March 19, 2014 | by Colin Dickey
Foreclosed homes as haunted houses.
My wife and I began searching for a house in 2008, just as the market was crashing, just as those first waves of foreclosed homes and short sales were hitting the market. Priced out of Los Angeles real estate for so long, we were finally able to afford houses whose prices had been ridiculously inflated only six months earlier. Occasionally we went to those open houses with smiling realtors and bowls of candy set out, where owners had recently landscaped or repainted to enhance value, but we could never seriously consider any of these. The homes that mattered had lock boxes, were abandoned or in the process of being abandoned—the ones that reeked of disrepair and despair.
We spent the summer touring nearly every distressed property in the neighborhoods East of Hollywood: Los Feliz, Silverlake, Echo Park, and Atwater Village—every abandoned or half-abandoned monstrosity and beloved ruin, looking for a home. I still have a hard time articulating the sense of dread and fascination those houses stirred in me. The feeling of moving through these spaces—particularly as we were visiting seven or eight of them in an afternoon—was indescribable. A sense of wrongness pervaded so many of these homes. I’m not superstitious—I don’t believe in spirits or forces or haunted houses—but much of our lexicon in these cases depends on notions of the supernatural; in the end, the only word that seems useful for talking about the houses is unheimlich—a German word, literally “unhomely” or “not of the home,” “unfamiliar.” It’s more idiomatically translated as “uncanny”: a word that Freud plucked and repurposed from the realm of the supernatural. Read More »
What We’re Loving: Adventures in Silhouette; Red Sauce, Whiskey, and Snow; the Narcissistic Hypocrisy at the Center of Human Nature
January 3, 2014 | by The Paris Review
I’m embarrassed to admit that I barely touched a book over the holidays (besides 84, Charing Cross Road, which I’m in the habit of rereading most years around Christmastime), but I did see a spectacular movie whose imagery I can’t get out of my head. In 1923, a talented artist named Lotte Reiniger was approached by a banker looking to make an investment. He suggested that Reiniger parlay her particular skill—cutting delicate silhouette art—into making a feature-length animated film. Three years and over 250,000 hand-cut images later, The Adventures of Prince Achmed premiered in Berlin. The story is a mélange of tales from the Thousand and One Nights, but good luck paying attention to the plot; the visuals are so arresting that they’ll keep you from focusing on more than one character or bit of pattern during any given scene. The original print of Prince Achmed is lost—a casualty of the Battle of Berlin, in 1945—but thanks to a restoration project completed a little over ten years ago, a fully colorized (and scored!) version is available on DVD from Milestone Films. —Clare Fentress
I’m a sucker for culinary memoirs by authors who aren’t primarily considered “food writers”—a genre that includes work by such varied names as A. J. Liebling, Laurie Colwin, and Jim Harrison. (The Pat Conroy Cookbook and The Roald Dahl Cookbook, respectively, also deserve honorable mentions.) Jason Epstein is best known as a publisher and cofounder of The New York Review of Books, but he’s also an accomplished cook and gourmet. Eating, the 2009 collection of Epstein’s food essays, covers family recipes, his days working as a professional cook, and, of course, the memorable meals he has shared with various literary luminaries. Although Eating is by no means gossipy or indiscreet (the only one who comes under the knife is Roy Cohn, with whom Epstein once lunched at 21), it’s filled with terrific vignettes; one could do worse than lunch, on a ship, with Edmund Wilson and Buster Keaton—“lobster over linguine with a bottle of Chablis beneath a perfect sky.” —Sadie O. Stein
Not long ago—but long enough that I’ve forgotten how it happened—I asked you to explain why exactly the rediscovery of Aristotle, from Arabic sources, mattered so much to medieval theologians. You recommended Étienne Gilson’s 1938 classic primer Reason and Revelation in the Middle Ages. Over the vacation a copy arrived at my house from a used bookstore, without any note. I’ve read Gilson’s lectures with great pleasure, and a keen sense of intellectual relief, but I can’t think who you are. Who are you? —Lorin Stein Read More »
June 16, 2010 | by Caleb Crain
Why Splice isn't science fiction.Splice, an indie thriller directed by Vincenzo Natali, has been marketed as an updated tale of Frankenstein's monster. Indeed, in Frankenstein's tradition, Splice's heroic couple, Clive (played by Adrien Brody) and Elsa (Sarah Polley), genetically engineer a dangerous creature, whom they name Dren, while in pursuit of knowledge, fame, and patents valuable to the pharmaceutical industry. But the movie isn't really science fiction.
The science, for one thing, isn't all that edgy or alarming. Splicing human DNA with that of other organisms? Millions of Americans inject themselves daily with human insulin, which is manufactured by mixing human DNA into that of E. coli bacteria, letting the bacteria bloom, and then putting it through a blender. As it happens, human DNA has a lot of nucleotides in common with animal DNA already, so a wanton squirting of animal genes into human genes is unlikely to make a super creature. In fact, humans and roundworms have about the same number of genes, which suggests that more is not more, in the number-of-genes department. How scary is the idea of typing up an organism's entire genetic code on a computer, manufacturing it from scratch, and bringing it to life? J. Craig Venter announced a couple of weeks ago that he and his research team have done just that. Hope you've been able to sleep nights since.
As for cloning itself, the sheep Dolly, the first mammal to be cloned, was born in 1996. Bulls, cats, pigs, deer, mice, and goats have followed. By now, dog clones have been around for so long that The New York Times has run a lifestyle article about coping with the disappointment that Fido's clone only loosely resembles the original. Human cloning is illegal in some states but far from all of them, and the technical challenge is unlikely to remain insurmountable. Three years ago, monkey embryos were cloned well enough to allow the extraction of stem cells, and two years ago, scientists in California persuaded clones of adult human skin cells to progress to early-stage embryos. Once human cloning does become possible, though, there's little need to worry that it will catch on as a way of making new humans. Cloning, unlike natural reproduction, is neither inexpensive nor recreational. Moreover, it inflicts a fair amount of genetic and epigenetic damage on the progeny who ensue. You might not mind a little damage in a cow that you plan to eat, but few people are likely to want to clone themselves or their loved ones once they understand that the baby will be saddled with birth defects, developmental delays, a compromised immune system, or some combination of the above. The prospect would just be too sad.
Sadness brings us to the true subject of Splice: child rearing. Specifically, what's a two-career couple to do when an episode of hastiness and curiosity leaves them with a squirmy naked mole rat who shows ambiguous signs of a developing intelligence and even sentiment? Feed it sugar and lock it in a plastic crate for as long as possible, of course. But once it begins breaking things, cornering people, and putting words together with Scrabble tiles, then what? The most science-fiction thing about Splice is that it never occurs to Clive and Elsa to provide their unbabysitted spawn with a television. Probably because the movie is so “irredeemably Canadian,” my husband complained. It's for the same reason, no doubt, that no government agency ever shows up to sweep everything under the rug.