Posts Tagged ‘Leanne Shapton’
June 22, 2012 | by The Paris Review
Last night Daniel Smith taught me the word anxiolytics. It means “anxiety reducers.” (Dan is the author of Monkey Mind: A Memoir of Anxiety, so he should know.) His favorite nonchemical anxiolytic is Singin’ in the Rain. Mine, for now, is “Jesus Dropped the Charges,” by the O’Neal Twins. —Lorin Stein
The 1935 Silly Symphony cartoon “Cookie Carnival” raises so many questions, but most pressing: What is a rum cookie? The highly enlightening Wikipedia article informs us that the animated short, in which various varieties of baked good compete for the title of Cookie Queen, is a take on the Atlantic City bathing-beauty contests of the day, precursors to Miss America pageants. (Incidentally, the gingerbread hobo is voiced by the same actor who immortalized Goofy.) As a friend of mine commented, “Misses Licorice and Coconut were robbed.” And it’s true: Sugar Cookie’s easy victory (after she dons a blonde taffy wig, that is) is a testament to how little standards of beauty have changed, however much baked goods have. —Sadie Stein
Leanne Shapton’s Swimming Studies, which comes out in early July, needs to be on everyone’s bookshelf this summer. Or, more fittingly, in the pool house. And the latest Vanity Fair has a fun article about the origins of that hideously romantic painting The Singing Butler, which I’m sure you’ll recognize once you see it. —Thessaly La Force
“Helpless,” by Poindexter. I heard this song playing in a store downtown and was convinced it was a new track by French electro band Phoenix. Poindexter gets it right with well-placed cymbal crashes and the type of moody synth that sound tracks an eighties teenage tryst on a foggy night. You can buy “Helpless” off fashion’s jack of all trades (Kitsune) album Kitsune America. SO DO IT. —Noah Wunsch
April 2, 2012 | by The Paris Review
Yesterday a whole bunch of us got up earlyish to talk shop with Janet Coleman on “The Next Hour.” Click here to hear Maggie Paley (“Terry Southern, The Art of Screenwriting”), Rowan Ricardo Philips (“Heralds of Delicioso Coco Helado”), Leanne Shapton (“Prose Purple”), Matt Sumell (“Toast”), John Jeremiah Sullivan (“The Princes”), Robyn Creswell, and Lorin Stein.
February 16, 2012 | by Thessaly La Force
It’s no secret how much I admire Leanne Shapton. The former art director of The New York Times’ Op-Ed page is also the author of several books, including Was She Pretty? and Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Including Books, Street Fashion, and Jewelry. She’s also a contributor to The Paris Review. Open any of the last four issues to glimpse her beautiful illustrations of Roberto Bolaño’s The Third Reich. Or buy issue 196, whose cover she painted. I visited her studio space north of Manhattan last spring. I can still remember her dog, Bunny, running to greet me. Leanne served tea and sweets, and we talked long after I turned off my tape recorder.
I wake up, walk the dog, or let the dog out. I’ll pretty much start working right off the top, depending on what I need to do, on deadlines.
I was talking to Sheila Heti about how and where we work. Sometimes I feel I get a lot done waiting for something else, with my shoes and coat on, with the car running. I don’t have a set routine. I can work for hours at a time, but I get a lot of stuff done in these weird starts and stops, which makes it a little bit harder to track. I have so many backs of envelopes with notes written on them in my pockets or stuffed into the side door of a car. I also use my Blackberry to write myself notes. Last night, I wrote myself an e-mail that said, “Tough girls with dark pink skin, England air, etc.” Now it’s sort of coming back to me, but when I woke up and read it, I was like, “What? What did I drink?” Lots happens in these little spaces between work and eating and sleeping. Sheila said she had this image of me standing up—you know how you stand up and eat when you’re really hungry? Well I stand up and work. It’s not a Hemingway thing, it’s more like I have to get this done, because the elevator is coming up. Some thing happens then. And that’s when I work.
November 21, 2011 | by The Paris Review
The Paris Review sends you holiday cheer—and our Winter issue! Naughty or nice, it’s got something for everyone: a portfolio of women by women, curated by our art editor, Charlotte Strick; fiction by Clarice Lispector, Paul Murray, and Adam Wilson; the English-language debut of French literary sensation Valérie Mréjen; and the conclusion of Roberto Bolaño’s lost novel The Third Reich, with original illustrations by Leanne Shapton.
The Winter issue also contains long-awaited interviews with—
I tell my students that when you write, you should pretend you’re writing the best letter you ever wrote to the smartest friend you have. That way, you’ll never dumb things down. You won’t have to explain things that don’t need explaining. You’ll assume an intimacy and a natural shorthand, which is good because readers are smart and don’t wish to be condescended to.
and Alan Hollinghurst:
I was very excited by the idea of telling truths that hadn’t been told before and breaking down literary categories. Descriptions of gay sexual behavior had until then tended to be restricted to pornography, and the presence of gay lives in fiction had been scant. So I had the great fortune of being given this relatively unexplored territory.
Plus … poems by David Wagoner, Jonathan Galassi, Dorothea Lasky, Ange Mlinko, Gottfried Benn, and Rowan Ricardo Phillips.
July 29, 2011 | by The Paris Review
We’ve heeded your wishes and, by popular demand, our super-duper Leanne Shapton–illustrated Paris Review beach towel is now available for purchase, yours for a very reasonable $20.
The smartest towel of summer and reading material to match? That’s what we call a deal.
May 6, 2011 | by Craig Taylor and Deirdre Dolan
In 1998, Adam Gilders, a Canadian writer, was diagnosed with a malignant brain tumor. Before his death in 2007 at the age of thirty-six, he wrote close to two hundred stories. Though Gilders’s fiction has been featured in The Paris Review and The Walrus, two of his friends, Jason Fulford and Leanne Shapton, decided to publish a more comprehensive book of Gilders’s writing under their independent imprint, J&L Books. Together, with Geoffrey Bainbridge, Miranda Purves, John Zilcosky, and Adam’s mother, Carla Gilders, they edited Another Ventriloquist, which debuts this Saturday, May 7, at the J&L FUNdraiser. We spoke to Jason and Leanne about the book.
Another Ventriloquist is an unnervingly good read. Can you talk about the status of the book when Adam died of a brain tumor in 2007? Had any of his friends discussed with him the possibility of gathering his writing into a book?
He never talked about publishing a collection of his stories. That was all our idea.
When he died, he had around two hundred unpublished pieces on his computer. One of the first conversations we had with his mother and friends after the funeral was about needing to get his stories collected and published. We never even knew he wrote so much. He was very critical of his own work and most of it he would have never brought forward for publication, especially not the older pieces or funny stuff like “Michael Douglas.” This is the one silver lining we can see to the situation—we get to read all these stories.