Posts Tagged ‘Guillaume Apollinaire’
December 9, 2015 | by Nicole Rudick
Watching a film about Claude Cahun.
When Alan Pierson conducts, he stands with his feet together, sometimes springing onto his toes and then plunging forward at the waist. Other times, he takes a step forward, only to return immediately to his original spot. He is tall and thin, and his reedy build exaggerates his movements: he could be one of Robert Longo’s flailing suited men, but he is poised, like an exclamation mark.
He is conducting Alarm Will Sound onstage at Merkin Concert Hall as part of the Sonic–Sounds of a New Century Festival. He is also onscreen at the back of the stage, in a short film in which he conducts the same composition but without orchestra or audience. The live Alan Pierson conducts with his back to the audience in the hall, but onscreen he frequently appears frontally and in close-up, and his expression—of delectation and wonder—is fed by his body’s exuberant movements. Read More »
June 4, 2014 | by Jessie Gaynor
July 15, 2013 | by Ted Scheinman
So hangs it, dubious, fateful, in the sultry days of July. It is the passionate printed advice of M. Marat, to abstain, of all things, from violence. Nevertheless the hungry poor are already burning Town Barriers, where Tribute on eatables is levied; getting clamorous for food.
—Thomas Carlyle, History of the French Revolution
The old saw that “an army marches on its belly” was blunted on July 14, 1789, as a half-starved, bibulous mob overran the walls of the Bastille, the Bourbon kings’ infamous political prison-turned-armory. Leaders of the rabble were more excited about hoarding gunpowder and fusils than about liberating the prison’s seven remaining, apparently apolitical inmates. Over the next two centuries, La Fête Nationale (or simply “le quatorze Juillet”) has metastasized from a Gallic celebration of freedom to a worldwide excuse for holding a multiday anarchic party, ideally with decent wine and minimal casualties. Read More »
December 5, 2012 | by Nicole Rudick
The Paris Review’s interviews have long featured single manuscript pages from among the subjects’ writings. They are meant to show the author at work, his or her method of self-editing, of revision—an illustrative supplement to the process described at length in the conversations. To me, though, they always exist first as instances of visual artistry. The particularities of each writer’s markings are immediately perceptible: the way Margaret Atwood’s handwritten lines appear impatient and vital in contrast with the prim logos of the SAS Hotel stationery on which she penned a poem; the way Yves Bonnefoy’s long, spidery insertion lines give physicality to the pallid rows of words; the way David McCullough’s xed-out typewritten phrases become so many tiny, busy intersections. In the same way, I’ve always found the looping inscriptions of Cy Twombly’s “blackboard” paintings, in particular Cold Stream, to be a kind of magic—the secret scribblings, writ large, of a mind at work. (It’s no coincidence that Twombly worked as a cryptographer in the army.)
I’m struck by the frequency, in Paris Review interviews, with which authors describe writing as being a visual activity. John Edgar Wideman imagines his drafts as “palimpsests.” Don DeLillo finds that “the words typed on the white page have a sculptural quality … They match up not just through meaning but through sound and look.” Read More »
September 7, 2012 | by The Paris Review
We all hate to see summer end, but don’t despair: we bring you our Fall issue by way of consolation! And there’s so much to love.
James Fenton on journalism, shrimp farming, interior decoration, gardening, poetry, opera, and more:
What I had got from my teaching experience in the Midwest was a feeling for the enormous pressure on people in the poetry world to conform to an entirely negatively defined notion of poetry. It doesn’t rhyme, it doesn’t have any rhythm one might detect, and it isn’t written for the ear but rather the page. It seemed de-natured. These poets had forgotten the lips and the limbs, the dance, the whole bodily element—that had been banished. The manifesto was a piece of devil-may-care. It was actually anti-Iowa rather than anti-American.
Roberto Calasso on life, film, and publishing—Italian-style:
The publisher after all is considered, especially in Anglo-Saxon countries, a rather eccentric entrepreneur or impresario—a businessman in a very improbable field. But, if he is successful, then he is a good businessman. The author is the successor of the saint, everyone respects the author. So to put the two elements together is highly suspicious in a way, especially in the rather moralistic Protestant countries. In the Latin countries, less so.
Plus! Fiction by Jim Gavin, David Gordon, Ottessa Moshfegh, Peter Orner, and Sam Savage. Poetry by August Kleinzahler, George Seferis, Bernadette Mayer, Jason Zuzga, and Guillaume Apollinaire. A portfolio by Daniel Handler and Maira Kalman, and collages by Jess.
April 20, 2012 | by The Paris Review
On the newly redesigned Los Angeles Review of Books, Hua Hsu’s review of a rather fascinating microhistory of office chairs has me wondering whether Charles Darwin invented the wheeled version. It seems he “replaced the legs of his armchair with ‘cast-iron bed legs mounted on casters’ so that he could glide freely throughout his office.” He’s known to have taken daily walks along his “thinking path.” Could it be that the chair’s motion likewise aided him in formulating the theory of natural selection? —Nicole Rudick
I’ve been on an Apollinaire kick, starting with Francis Steegmuller’s chatty 1963 biography, plus the new translation of Apollinaire’s love letters from the trenches and Louis Zukofsky’s strange bilingual homage, Le Style Apollinaire. —Lorin Stein
“The Bible is, for the first time, being translated into Jamaican patois. It’s a move welcomed by those Jamaicans who want their mother tongue enshrined as the national language,” reported the BBC in December. Led by the Bible Society of the West Indies, the translation initiative began with the Gospel of Luke and is scheduled for completion in August of this year. The patois translation has many excited followers, including me, and, though I can't understand a word, I’m moved by a truth revealed at the heart of this effort: that language shapes and solidifies a people’s identity and sense of belonging. It’s kind of as real as it gets. —Elizabeth Nelson
“There's one thing I want to make clear right off: my baby was a virgin the day she met Errol Flynn.” I’ve been wanting to read 1961’s The Big Love (Mrs. Florence Aadland as told to Tedd Thomey) ever since I saw Patricia Marx recommend it years ago. You can imagine my delight when I opened my mailbox to find my copy, and I devoured the story—a bizarre tell-all by the mother of the fifteen-year-old who had an affair with the middle-aged actor—within a day. Even to connoisseurs of the lurid, this is jaw-dropping stuff: “When the time came she told me everything she did with Errol Flynn … Everything. And in detail, because she and I love details and get a kick out of sharing things like that.” (It’s all like that.) After Flynn’s death, the liaison came to light, and Mrs. Aadland, convicted of contributing to the corruption of a minor, lost custody of seventeen-year-old Beverly. But she regrets nothing; the tone is as resolutely defiant as it is inappropriate. William Styron called the book "flabbergastingly vulgar." —Sadie Stein