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Posts Tagged ‘Geoff Dyer’

The Hunters

June 23, 2015 | by

In memory of James Salter, who died last week, the Daily is republishing a series of essays from 2011, when Salter received The Paris Review’s Hadada Prize. In today’s piece, Geoff Dyer looks at Salter’s first novel, The Hunters.

To learn more about Salter, read his 1993 Art of Fiction interview or one of his stories from the magazine: “Sundays” (1966), “Am Strande von Tanger” (1968), “Via Negativa” (1972), and “Bangkok” (2003) are available in full online.

James Salter in a fighter plane.

The Hunters (1957) was Salter’s first novel and remains the most concise expression of his talents. It is based closely on his own experience as a pilot flying combat missions in Korea. The war in the air proceeds in tandem with a near civil war on the ground as the pilots vie with each other to achieve the coveted five kills that will make them aces. The conflicting demands between ensuring the safety of comrades (the “sacred” duty of the wingman) and the individual daring—recklessness even—needed to shoot down MiGs threaten to destroy the central character, Cleve Connell.

In Burning the Days Salter recalls a friend’s advising him that “the original form of storytelling is someone saying, I was there and this is what I beheld.” As soon as he began writing, Salter knew that his time as a fighter pilot would give his storytelling this elemental immediacy and power. (The magnificent climactic scene of the novel involves an incident mentioned briefly in the memoir, when two planes, out of fuel, are forced to glide back to base.) Earlier still, when he was learning to fly, Salter had fallen under the spell of the most famous writer-pilot of them all, Antoine de Saint-Exupéry: “it was his knowledge I admired, his wholeness of mind, more than his exploits. ... In [his] footsteps I would follow.” (This tradition—or perhaps trajectory is a better word—has recently been extended by Jed Mercurio. Part of his novel Ascent (2007), about Soviet pilots flying MiGs in Korea, can be read as a commentary on—or duel with?—Salter, whose novel, presumably, served as template and inspiration.) Cassada has at its core an event that is in some ways a reworking of the kind of crisis imaginatively depicted by Saint-Exupéry in Night Flight as two lost planes drift past their landing strip, cut off from the earth by darkness and rain clouds. The Hunters contains a direct allusion to the master, a translation of the lyricism of Wind, Sand and Stars (“Below the sea of clouds lies eternity”) into the argot of the jet age, the dawn of the right stuff: “There was a mission when they conned across seas of eternity, never catching sight of the ground except at the beginning and end.” Not that Salter is lacking in his own lyric gifts. The experience of flight, the mysteries of the sky, remain as intoxicating and magical as they were for the pilots of propeller-driven biplanes:

Suddenly Pell called out something at three o’clock. Cleve looked. He could not tell what it was at first. Far out, a strange, dreamy rain was falling, silver and wavering. It was a group of drop tanks, tumbling down from above, the fuel and vapor streaming from them. Cleve counted them at a glance. There were a dozen or more, going down like thin cries fading in silence. That many tanks meant MiGs. He searched the sky above, but saw nothing.

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North to the Past, and Other News

March 18, 2015 | by

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The whaling steamer Belvedere, Cape Lisburne, Arctic Ocean, ca. 1886. Pictured in Steaming to the North. Photo via NYRB

  • Ian Frazier on Steaming to the North, a new book of photographs that “provides another of the poignant rear-view-mirror visions of ourselves and our environment in which Americans specialize.” The book charts the journey of “the U.S. Revenue Cutter Bear, a 198-foot, reinforced-hull vessel powered by both steam and sail.” The Bear patrolled the seas of Alaska circa 1886, when it was a new American territory. These photos of it were “rediscovered in the 1970s under a porch in New Hampshire.”
  • Cicero may have been a master orator—but no rhetoric could rescue his lame advice for how to spend your twilight years. “He comes over as a humorless and self-satisfied bore when he writes that ‘the fruit of old age is the remembering and amassing of fine accomplishments’ … Besides being unduly platitudinous, it makes generally for unhappy reading … Apart from sitting on the sofa thinking smugly about all your great achievements, Cicero recommends taking up agriculture.”
  • Last week we featured Ron Arad’s crushed cars. Now there’s a video that demonstrates how he crushes them, exactly. (Spoiler: it involves force.) 
  • Geoff Dyer on Raymond Williams, “a hero of the 1968 generation”: “Williams’s legacy and influence, which had once seemed assured, have gradually shrunk … it is necessary to do two things that might appear contradictory: to concede that, with the exception of Border Country, the fiction to which he devoted so much energy was dull; and to free the rest of his work from the once-modish tundra of cultural studies, let alone the pack ice of theory. Perhaps then he will be read with the same passion and adoration that still attends the discovery of John Berger.”
  • On the intellectual character (or lack thereof) of conspiracy theorists: “The problem with conspiracy theorists is not, as the U.S. legal scholar Cass Sunstein argues, that they have little relevant information. The key to what they end up believing is how they interpret and respond to the vast quantities of relevant information at their disposal … this is fundamentally a question of the way they are.”

John Jeremiah Sullivan Wins Windham Campbell Prize

February 24, 2015 | by

© Harry Taylor

Many congratulations to our Southern editor, John Jeremiah Sullivan, for winning one of this year’s Windham Campbell Prizes. The citation calls him “an essayist of astonishing range … empathetic and bracingly intelligent.” We heartily agree.

If you haven’t heard of the Windham Campbell Prizes, that’s because this is only the third year they’ve been awarded— Donald Windham and Sandy M. Campbell founded the prize in 2013 “to call attention to literary achievement and provide writers with the opportunity to focus on their work independent of financial concerns.” Awards are given for fiction, nonfiction, and drama, to those who write in English anywhere in the world.

“I couldn't overstate how encouraging this award is,” Sullivan wrote, “or how practically helpful. In this phase of my writing life I feel a desperate need to stay down over the research I'm doing, not look up, and the prize makes that possible.”

Also among this year’s nine winners is Geoff Dyer, whose work has previously appeared in The Paris Review. We applaud him, too, along with all of this year’s prizewinners. In September, they’ll gather at Yale for a festival celebrating their work.

Ways of Witnessing

November 5, 2014 | by

Geoff Dyer and John Berger, 1984.

marxismtoday

Marxism Today, December 1984.

I read Berger’s Ways of Seeing and then started to read more and more of him, and I found it all very stimulating and exciting. He was doing something that I hadn’t come across before in English writing—bridging the gap between criticism and fiction and so on. All with that level of political engagement that was absolutely de rigueur back in the early eighties. He was my favorite writer, and I interviewed him for Marxism Today. —Geoff Dyer, the Art of Nonfiction No. 6, 2013

John Berger is eighty-eight today—I’d been curious for a while about his interview with Geoff Dyer, so I finally did the obvious thing and Googled it. Lo and behold: the December 1984 issue of Marxism Today has been digitally archived by unz.org, with the Dyer-Berger exchange complete and unabridged. The interview, “Ways of Witnessing,” sits among such fare as “Hopes, Dreams & Dirty Nappies” (“What can utopias do for mothers and mothers do for utopias?”) and a column called “Video Viewpoint” (“Perhaps 1984 will be remembered in some small footnote as the year in which video tapes started to live up to the claims several people, mostly video producers to be sure, had been making… ”). The cover story: “Santa’s Dramatic Intervention.”

At the time, Berger was soon to release And Our Faces, My Heart, Brief as Photos, but he doesn’t discuss the new book much. Instead—as you might anticipate given the venue—he and Dyer talk a lot of leftist shop: “My reading tended to be more anarchist than Marxist-Kropotkin and all the anarchist classics,” Berger says. And on why he never became a card-carrying Communist: “I had reservations about the party line in relation to the arts.”

Dyer would’ve been twenty-six when this interview came out; there’s not a lot of his voice here, and certainly none of his humor comes through. But you can sense, maybe only because of his later comments, his eagerness to please Berger, or at least to convey the scope of his intellect. Toward its midpoint, the conversation turns to romanticism, and here it’s somewhat less arid: Read More »

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This Old Phallus Tree, and Other News

August 4, 2014 | by

phallus-tree

A nun picks ripened penises from a phallus tree in the Roman de la Rose, ca. 1325–53. Image via Collectors Weekly

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What We’re Loving: Strokes, Sex Appeal, Splenetic Surfers

March 28, 2014 | by

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Emmanuelle Devos in a still from Just a Sigh, 2013.

If you saw American Hustle with your parents, as I did last Christmas, you will have noticed something that set it apart from pretty much every Hollywood movie of the last few years. I refer to the sex appeal of Amy Adams. Her hotness was a blast from the past, and not just because of the disco décolletage. For some reason, Hollywood doesn’t really do sexy these days, at least not in female roles—and certainly not compared to the French. Just think of Lola Créton in Goodbye, First Love or Adèle Exarchopoulos in Blue Is the Warmest Color—both playing teenagers with a soulful teenage horniness that’s taboo in American movies—or Marion Cotillard as a double amputee in Rust and Bone, or best and most recent of all, Emmanuelle Devos, the fifty-year-old star of Just a Sigh, who’s never looked better (which is saying something), and who smolders so intensely for Gabriel Byrne that the poor guy just sort of disappears off the screen. Until the actual love scenes, you hardly notice: this is a one-woman show. —Lorin Stein

Rodrigo de Souza Leão died shortly after the publication of All Dogs Are Blue, an autobiographical novel detailing his time in a Rio de Janeiro mental asylum. Souza Leão uses a kind of language his schizophrenia has taught him, creating a poetry that’s at one moment absurd—his two recurring hallucinations are Rimbaud and Baudelaire—and the next heartbreakingly self-aware. (“Is it the kiss of Judas? Will I betray my father in my madness?”) It’s an innovative, original book, though not an easy one to read. But then, as Souza Leão writes, “The truth can be a sloppy invention and still convince everyone.” —Justin Alvarez

When will spring arrive‽ Isn’t all this cold weather lovely though⸮ I love it—I hope it never ends؟ If you’ve been feeling that we have a lack of punctuation marks at our disposal—we don’t have a way to represent, for instance, an ironic question—then why not revive the obsolete irony mark⸮ It has a long history of failure in mainstream typography that you can read all about in Shady Characters: The Secret Life of Punctuation, Symbols, and Other Typographical Marks, by Keith Houston. But if you believe that to point out irony to an intelligent reader would defeat its purpose wholesale, perhaps you would prefer the percontation point, which was invented by the English printer Henry Denham in the nineteenth century—it’s meant as a visual indication of a rhetorical question. Or the interrobang, which combines the feeling of the exclamation point with the function of the question mark. Or my favorite, the love point, used to denote deep affection. —Anna Heyward

Geoff Dyer was not killed, or even, apparently, seriously impaired by his recent stroke, and he writes buoyantly about the experience for the London Review of Books. Ten days into his new life in Venice Beach, his vision went weird and his coordination abandoned him, and he stumbled about half-blind in perfect weather. His is a kind of coming-of-age story that reminds you how many such stories make up a life, whatever your age. —Zack Newick Read More »

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