Posts Tagged ‘Joseph Mitchell’
March 4, 2015 | by Dan Piepenbring
Many of you know Sam Stephenson from his excellent contributions to the Daily over the years. But he also has, with Ivan Weiss, a documentary nonprofit called Rock Fish Stew—they’ve worked on projects about everything from jazz to baseball. And starting today, they’re collaborating with The Paris Review on a new series of multimedia pieces called “Big, Bent Ears: A Serial in Documentary Uncertainty.” As they explain in the prologue,
We pursue hunches, welcome distractions, give ourselves space to associate freely. There’s something indulgent in this approach—childlike, some might say—but we try to balance our impulses with learned rigor … We’ll offer combinations of video, audio, photography, and writing in various arrangements and states of completion.
So why the name? Whose ears are both big and bent, save perhaps certain breeds of dog? Sam and Ivan explain:
The name Big, Bent Ears derives from our two current projects, the Joseph Mitchell Project and the Big Ears Documentary Project. Joseph Mitchell, the midcentury chronicler of the back alleys of New York City, was renowned for his uncanny ear … his first collection was called My Ears Are Bent.
Big Ears is one of the country’s preeminent experimental music festivals. It features the likes of composer Steve Reich, Radiohead’s Jonny Greenwood, music-art icon Laurie Anderson, tUnE-yArDs, Nazoranai, and the Kronos Quartet, among many others … In an age of quick hits and attention deficits, Big Ears focuses on long listening and the noncommercial craft of music and sound.
Read their prologue here, and check back on March 11 for the first chapter of their story. We’re looking forward to seeing what they come up with, and how far afield they roam.
Dan Piepenbring is the web editor of The Paris Review.
February 12, 2013 | by Kelly McMasters
Sitting alone in my tiny bookshop on a cold February morning, I have the sensation that I’ve conjured a dream into reality. The light is crisp and blue through the door. A flight of red paper swallows—a Valentine homage to Chaucer’s poem “The Parliament of Fowls”—hangs from the ceiling, fluttering quietly from the heat whooshing out of the floor grate. The room is small, just shy of two hundred fifty square feet, and an old pickled farm table sits squarely in the middle. The top of the table is covered with books, and the shelves lining two of the room’s walls also contain a patchwork of brightly colored spines.
Valentine-themed woodblock prints handmade by my husband line the farm table and a grid of nature-inspired prints hold a wall. We live on an old dairy farm up in northeast Pennsylvania, and instead of cows in our three-bay English barn, we have two etching presses. Mark carves the images into blocks of clear pine, inks them up, and sends them through the press, cranking the smooth silver wheel like a captain on a ship. This is our store together, a kind of celebration of works on paper. We live on Moody Road, and so we call the shop Moody Road Studios.
An artist and a writer, respectively, my husband and I had both been teaching and working in the city for more than a decade, until a little over a year ago. The idea of running a bookshop never entered our consciousness while in New York, mostly because it never could have happened. Space and funding were impossibilities—as one might guess, a writer and an artist in business together don’t quite make for a crack commerce force. But here, on Main Street in the small town of Honesdale, everything clicked into place. Read More »
January 30, 2013 | by Sam Stephenson
On Tuesday morning, December 11, I drove a rented 2013 Chevrolet Impala out of Chapel Hill on I-40 East, the first miles of a twenty-two-day road trip around the South, with points as far west as New Orleans and Shreveport. These were the first Christmas plans I’d made on my own in forty-six years.
Without children, my holidays since 1995 have alternated between my parents’ house in eastern North Carolina and my in-laws’ in Pittsburgh. Over a nearly identical duration, I’ve been researching the life and work of photographer W. Eugene Smith. Now I’m working to finish my last book on him. The first stop on this Southern holiday journey is Berkeley County, South Carolina, a former slave-plantation region near the coast where Smith photographed his 1951 Life essay, “Nurse Midwife.”
The truth is that I’m tired of Gene Smith. Read More »
November 29, 2012 | by Joe Kloc
Every now and then I come across someone on the subway who defies easy categorization. I remember, for instance, a man who boarded the 3 train in Brooklyn a few years ago wearing military fatigues and a bandolier packed with little glass bottles of liquids. “Who is man enough to buy my fragrances?” he shouted. (When one rider replied that he wasn’t sure, the man responded, “Are you man enough to kill a hooker in Moscow with a crowbar?”) More recently, there was a man on the uptown 6 wearing a pair of oversized New Year’s glasses—the ones where the 0’s serve as eyeholes—who played atonal jazz on his saxophone and asked for no monetary compensation in return. I could keep going, but no doubt anyone who has lived in a city for any length of time has their own mental list of these self-styled subterranean eccentrics, grouped together not so much by any particular characteristic other than the fact that they seem only to exist underground.
August 10, 2012 | by The Paris Review
I didn’t think I would ever read another book about Henry James. But here I am, three quarters of the way through Michael Gorra’s Portrait of a Novel, a book-length study—or really, essay—on The Portrait of a Lady. It reads like an old-fashioned work of belles lettres, combining biography, travelogue, and literary history (plus a good deal of helpful synopsis) to explain how and why James wrote his best-loved novel. The explanation is full of grace and deep learning lightly worn. Yet Gorra takes for granted James’s homosexuality, and his sexual knowledge, as well-established facts. In this sense, it is a book of our moment, a hi-def image of the Master coming into his own. —Lorin Stein
The host, for some reason, was taking Instamatic pictures of his guests. It was not clear whether he was doing this in order to be able to show, at some future time, that there had been this gathering in his house. Or whether he thought of pictures in some voodoo sense. Or whether he found it difficult to talk. Or whether he was bored. Two underground celebrities—one of whom had become a sensation by never generating or exhibiting a flicker of interest in anything, the other of whom was known mainly for hanging around the first—were taking pictures too.
I have Lorin to thank for introducing me to Renata Adler’s 1976 first novel, Speedboat. Maybe its unconventional structure (a series of vignettes) and plotline (there isn’t really one) are not for everyone. But for sheer linguistic pleasure, fierce intelligence, and a vivid picture of seventies New York, look no further. I breezed through it in a day and have been recommending it left and right with the kind of excitement I haven’t felt in a long time.—Sadie O. Stein
Bruce Springsteen’s music is the Staff Pick of my heart. “Bobby Jean” and “Secret Garden” give tremble to the word rock, while “Born to Run” accomplishes something in music that Holden Caulfield did in literature, honestly portraying the anxiety of adolescence in a desire to escape. The New Yorker’s profile of Bruce Springsteen is a breathtaking homage to the now sixty-two-year-old rocker, who is set to embark on yet another world tour. The piece follows a young Springsteen watching Elvis on the black-and-white telly, takes us through his years of top-forty glory and out into a political movement that gave hope to the country. The profile shows that there is still heart in the music industry—even if that heart was born in Jersey. —Noah Wunsch