Posts Tagged ‘John Cheever’
July 31, 2014 | by Dan Piepenbring
- Want to buy John Cheever’s old house in Ossining? Have at it. (A mailbox bearing the Cheever name is still there.)
- On the late Thomas Berger’s Arthur Rex, a 1978 retelling of Arthurian legend: “Berger adopts the distinct voice of the medieval-epic narrator, slipping easily into the rhythm and pattern of courtly speech, with its ‘And’s and ‘Now’s and ‘Whilst’s, its frequent and self-serious references to the glory of God and the sin of doubt. He uses the old style of speech to tell what has always been a surprisingly modern story: that of a kingdom in which every socioeconomic problem is brilliantly resolved and its people turn to a pure and destructive religious idealism.”
- The actress Lisa Dwan is taking her production of three one-woman Beckett plays—Not I, Rockaby, and Footfalls—on a world tour.
- Advice for reading blurbs: Don’t. “Cover blurbs aren’t reviews. They’re advertisements. No space for balanced, nuanced positivity. Nothing can be interesting; it must be fascinating. Good isn’t good enough; it must be great.”
- “Rock stars are not gods but rather human beings whose emotions happen to resonate with millions—emotions that are inspired by other human beings, some of whom have written memoirs. These books are often disregarded as attempts to cash in, but while the books are sometimes bitter, they’re rarely cynical. Taken together, they comprise a shadow history of classic rock, an account from within the aura and from the margins of the rock star’s hero journey.”
May 27, 2014 | by Dan Piepenbring
It’s John Cheever’s birthday, and courtesy of 92Y, you can listen to a recording of the author reading his most famous story, “The Swimmer,” in December 1977. It’s easy to shrug off such a canonical piece of fiction, especially when its hero is named Neddy. But if you, like me, haven’t glanced at it since it appeared on one syllabus or another, “The Swimmer” is worth rereading; though its more surreal elements feel contrived to me, the prose still glitters and the dark humor survives:
It would storm. The stand of cumulus cloud—that city—had risen and darkened, and while he sat there he heard the percussiveness of thunder again. The de Haviland trainer was still circling overhead and it seemed to Ned that he could almost hear the pilot laugh with pleasure in the afternoon; but when there was another peal of thunder he took off for home. A train whistle blew and he wondered what time it had gotten to be. Four? Five? He thought of the provincial station at that hour, where a waiter, his tuxedo concealed by a raincoat, a dwarf with some ﬂowers wrapped in newspaper, and a woman who had been crying would be waiting for the local.
I hadn’t known, though Google suggests it’s common knowledge, that “The Swimmer” was adapted into a feature-length film, released in 1968, starring Burt Lancaster as Neddy. According to a thorough assessment at Turner Classic Movies, The Swimmer succeeds in adapting the unadaptable:
It succeeds brilliantly as a fascinating, enigmatic drama that ponders middle-age disillusionment and failure. It’s one of those lucky accidents that occurred in the sixties when Hollywood was still open to experimentation because most studio executives were completely insecure in predicting commercial hits. After all, Bonnie and Clyde and The Graduate (both 1967) had blindsided the industry with their unexpected box-office grosses. So maybe audiences were ready for more challenging films like The Swimmer? Unfortunately, the film was a box-office flop, but part of its commercial failure was due to poor marketing by Columbia.
October 31, 2013 | by Timothy Leo Taranto
March 12, 2013 | by Adam Thirlwell
Francesco Pacifico’s novel The Story of My Purity is narrated by Piero Rosini. This Piero seems like most other modern schlubs—thirty, overweight, bourgeois, in a sexless marriage, you know it—but the thing that makes him unusual is his deep belief in Christ. This is the most Catholic narrator in contemporary literature. He is also the funniest Catholic narrator in contemporary literature. And what happens to Piero is some kind of picaresque adventure that takes him from Rome to Paris and beyond, into all the problems of his innocence. What else do you need to know about Piero’s creator? Francesco Pacifico is also a translator from English into Italian, and translation is something we talk about a lot. In fact, he has almost definitely read more fiction in English than you have. And if an inglese italianato is the devil incarnate, then what does that make an italiano americano? I just mean that Francesco Pacifico is one of the least innocent novelists I know.
There’s a moment where Piero says “nobody’s Roman,” and this setting of Rome is crucial to the book’s opening. So my first question is, are you Roman?
I am, and I’m not. I was born in Rome and have lived there all my life. But I don’t know how to cook trippa and pajata, I know nothing of Rome’s cuisine pauvre, my family’s half-assed culinary traditions are half abbruzzese and half everything. My father’s side comes from L’Aquila, Abbruzzio, where my granddad’s family was big during the Fascist era, or so I’m told. My mother’s side is from everywhere, the hills of Sabina, and remotely Spain and France, and they travelled the country as my granddad was an engineer for the electric company—Milan, Genoa, Terni. I don’t feel Roman. You can spot a real Roman from miles. Savvy, gritty, ironic. I’m not.
And now—to keep with first things first—could you talk a little about this theme of purity? It seems such a gorgeously perverse subject for a contemporary novel. What’s the beauty of purity?
I experimented with not having sex for years. And I am a renowned lover of women. There was a time in my midtwenties where I thought of my life as an ongoing piece of performance art, and I realized the big thing I should try was to stop having sex. I had this romantic view of my love for my girlfriend being exalted and enhanced by abstinence. I became impotent. Read More »
January 1, 2013 | by Jessie Gaynor
We’re out this week, but we’re re-posting some of our favorite pieces from 2012 while we’re away. We hope you enjoy—and have a happy New Year!
November 12, 2012 | by Tobias Carroll
Whether delving into memorable personal stories or exemplifying a sort of nimble surrealism, Gabrielle Bell’s comics are harder to classify than one might think. Reading her work chronologically, one can find her range expanding from sharp day-to-day observations to forays into the surreal and magic realist. The title story of the collection Cecil and Jordan in New York follows a young woman who moves to the city and searches for an apartment and a purpose. It’s fairly kitchen sink in its realism, right up until the point where the protagonist matter-of-factly decides to become a chair. It’s a dose of deadpan absurdism that opens up the storytelling possibilities, and keeps the reader on their toes.
The Voyeurs is Bell’s latest book, covering several years in her life, and taking her from promoting a film in Tokyo to finding a space for yoga in her Brooklyn apartment to San Diego for Comic-Con. Its introduction comes courtesy of Aaron Cometbus, whose long-running zine suggests certain parallels to Bell’s deftly autobiographical work. We met at a bar near Bell’s apartment in Greenpoint, Brooklyn—a neighborhood that has provided the setting for much of her work.
Lucky begins as a kind of slice-of-life documentation of your life. By the end of the first volume, though, it’s become less overtly realistic and more expressionistic. When did you make that leap?
It was towards the end of writing Lucky, when I got to the point about Francophilia, when I talked about talking with Gerard Depardieu. That must have been the first time that I did that. Or maybe it was when I had this fantasy about being an art assistant, and the artist taking all my ideas. Read More »