Posts Tagged ‘Marianne Moore’
April 8, 2016 | by Dan Piepenbring
- Did you know? Heterosexual men tend to enjoy sexual intercourse—so much so, in fact, that even when they’re not having intercourse, they sometimes wish they were. Undone, a new novel by John Colapinto, explores this fecund quadrant of the male psyche, because no one’s set foot there in a while and someone needed to mow the lawn: “By exploring heterosexual male lust, Mr. Colapinto has written the kind of novel that has gone way out of fashion. The classics of the genre—Portnoy’s Complaint (Roth), An American Dream (Mailer), and Couples (Updike), among them—are many decades old … Many critics and civilian readers would say—and have said—good riddance to priapic literature. In a 1997 essay, ostensibly a review of the late-period Updike novel Toward the End of Time, David Foster Wallace slammed the previous generation of ‘phallocrats’ for its sex-obsessed narcissism … Colapinto said he had read the Wallace essay and largely agrees with it. But on the subject of the sex-drenched novels of Updike, Roth and the other bards of the male libido, he said, ‘I couldn’t deny that I had a lot of fun reading those books when I was younger.’ In his view, there was an overcorrection.”
- Our Spring Revel was earlier this week, and though you might have expected some kind of superficial tribute to the wonders of the written word, you should know that our writers got real. They also described “their less-photogenic days at the desk”: “Even after thirty years, Lydia Davis said she has her off days. In accepting this year’s Hadada Award at this year’s annual gala at Cipriani 42nd Street, the author admitted throwing out the written version of her speech was a big mistake, and one that left her ‘scrawling little notes in very small handwriting on a jiggling train’ en route to New York … David Szalay and Chris Bachelder, respective winners of the Plimpton Prize for Fiction and the Terry Southern Prize for Humor, also didn’t exactly sugarcoat their career choice. In fact, pretty much every table had a writer in the midst of a one-person battle with the printed page. For novelist Adam Wilson, that means having a safe to lock up his cell phone in his Brooklyn home office.”
- A reissue of Marianne Moore’s 1924 Observations reminds of its “infectious devotion to everything small”: “A fresh reading of Observations suggests that, while Moore’s descriptive powers are formidable, she is primarily a poet of argument, which is to say that she is most primarily a poet of syntax—the convolutions of her long, charismatic sentences seduce us into agreement long before we’ve had time to consider the substance of the argument at stake … Read as a whole, as it was designed to be, Observations emerges as one of several books that in the 1920s created our lasting sense of what constitutes the modernist achievement—books that court chaos through exquisite artistry: Eliot’s The Waste Land, Woolf’s Mrs. Dalloway, Pound’s A Draft of XVI Cantos, Joyce’s Ulysses.”
- Time to ask again—what were the suburbs? Two new books, Houses for a New World, by Barbara Miller Lane, and Detached America, by James A. Jacobs, look back at the era of Levittown and the postwar suburban-housing boom, which we’re struggling to make sense of. As Martin Filler writes, “Both new books remind us of a time when a popular American middle-class weekend pastime was to pile the kids and in-laws into the family car and drive around looking at model houses, whether or not you were actively shopping for a new place. Lane has found newspaper advertisements and promotional materials for subdivisions that were clearly aimed at wives (who wielded huge influence about housing decisions even though their husbands were the breadwinners) and stressed the transformational nature of life in these up-to-the-minute dwellings. A revealing example of that appeal to women can be found in a 1955–1957 sales brochure for Cinderella Estates, a new Anaheim, California, subdivision not far from the recently completed Disneyland. This booklet depicts a princess-like figure and regal coach next to a rendering of a sprawling ranch-style house and the words ‘your every wish for a home … come gloriously true.’ ”
- On the poet Ocean Vuong, born in Saigon and raised in Hartford, Connecticut, whose work is “influenced by both the plainspoken ironies of Frank O’Hara and the exotic folklorism of Federico García Lorca”: “Reading Vuong is like watching a fish move: he manages the varied currents of English with muscled intuition. His poems are by turns graceful (‘You, pushing your body / into the river / only to be left / with yourself’) and wonderstruck (‘Say surrender. Say alabaster. Switchblade. / Honeysuckle. Goldenrod. Say autumn’). His lines are both long and short, his pose narrative and lyric, his diction formal and insouciant. From the outside, Vuong has fashioned a poetry of inclusion.”
December 4, 2015 | by Dan Piepenbring
- The drugs in the real world are okay. But fictional drugs—those are some drugs. A tour of drugs in fiction suggests, among other things, that we’ve been disappointingly unimaginative in choosing names for actual drugs: Where can we find the likes of “moloko plus” or “The Diabolical Drug” in day-to-day life? And where, in fiction, can we find a drug that isn’t a metaphor for our dumb ambition? “We all want to be stronger, sexier, more formidable; taking a synthetic shortcut, in drug fiction, is rarely a good idea … That’s the commonality throughout all of our mind-warping fictions: they’re mostly depictions of our hubris. They skewer our persistent belief that there is some pill, some plant, some substance that could cure everything for us, fix things.”
- Meanwhile, the explosion of narrative food writing seems to have helped everyone but the service staff: there are no signs of labor to be found. “Contemporary cookbooks devote as much energy to their narrative or expository content as they do to providing recipes; they tell stories, that is, rather than merely instruct. Despite this impressive reach, however, you have to read hard, and most often in vain, to catch glimpses of waiters, dishwashers, or line cooks … If one were to do the impossible, and take food criticism seriously, we would have to imagine a restaurant as a kind of lively phantasmagoria, where food and beverage enter the purview of the critic as if of their own volition. It is the staging ground for the most classic forms of commodity fetishism.”
- Today in TV nostalgia: from 1947 to 1957, a live TV show called Kukla, Fran and Ollie attracted some four million viewers each night, in prime time. Its secret: puppets. “It revolved around the antics of the Kuklapolitan Players, a theater company made up of one human—radio actress and vocalist Fran Allison—and a dozen puppets, all of which were animated by the show’s creator, Burr Tillstrom. The puppets talked and danced and sang on a small stage while Allison stood in front of it and talked and danced and sang with them … Kukla, Fran and Ollie created a new, gentle intimacy with its audience, one shaped by routine but not bound by formula, in which it was always possible to be delighted or moved. Perhaps it’s less that it’s strange for adults to feel strongly about children’s television and more that we’ve coded such qualities as childlike.”
- Mary-Kay Wilmers on Marianne Moore: “In place of a diary she kept a notebook … She didn’t use it to write about her feelings or about herself. She was interested in the fate of her poems, not in the mood she was in. Her mother had warned against introspection; consciously or unconsciously, she’d taken the lesson to heart. Or perhaps she didn’t need a lesson. Ideas, attitudes to this and that were more rewarding, and more fun to think about and make fun of, even her own. But words principally gave her pleasure. Sentences, metaphors, tropes, her own—she worked constantly at them—and other people’s, including her mother’s, were noted down and reappear in the poems, which borrow many of Mary’s mannerisms as well as those of the home language more generally: not its sentimentality but its histrionic tone and nursery décor and its tendency to metonymise and otherwise play the figures of speech. Like Wallace Stevens, whom she much admired, she made jokes, and even more than in Stevens’s case, the jokes were sly, hardly perceptible, there for her own pleasure. Yet for all the ironies, visible and invisible, some of the poems even have a moral.”
- The artist Ana Mendieta, a Cuban émigré who died thirty years ago, is at last getting her due: “The young and promising Cuban-American artist fell to her death in September 1985 from the 34th-floor window of her Greenwich Village apartment; her newlywed husband, legendary sculptor Carl Andre, was indicted, tried, and eventually acquitted of her murder … [Mendieta] used her own body as a major component of her artwork. Her films and photos often used her sometimes naked form as subject and many had deep, earthy, bold colors and natural but stark shapes and elements. She used sticks and blood and dirt and plants—her work has the feeling of a pagan ritual. It is somehow both haunting and life-affirming.”
June 26, 2015 | by The Paris Review
“Writing religious poetry in the twentieth century is very difficult.” So says Czeslaw Milosz in his 1994 interview with The Paris Review. This, he noted, could be one of the greatest challenges facing the poets of our time: “the incapacity of contemporary man to think in religious terms.” Twenty years later, Rowan Ricardo Phillips published a poem in our summer 2014 issue that begins “Not knowing the difference between Heaven / And Paradise, he called them both Heaven.” That poem appears again in Phillips’ new collection, Heaven. In contemporary poetry, there are few book-length meditations on heaven. It’s strange. What’s more, it’s strange how strange it is: Phillips constantly reminds us that the territory is well charted. His poems pinpoint and stitch together small, disparate nodes of heavenly wisdom scattered through our largely earthbound canon. (Ovid, Homer, Dante, Shakespeare, to name a few of the patron saints.) The flow of astronomical allusions, like the subject itself, feels mundane at a glance and somewhat trite to mention. But as Phillips brings them close with the tight scope of his scholarship and lyric observation, they become unfamiliar, and heaven becomes something new, “this star-seized evening that’s / Unreeling and unreals.” —Jake Orbison
I managed to get my hands on a copy of Elena Ferrante’s fourth Neapolitan Novel, The Story of a Lost Child (out in September), and have been able to focus on little else all week. In this final installment of the story of Elena and Lila, Ferrante delivers some seismic-level surprises that somehow don’t feel contrived, that instead unearth a new internal symmetry beneath the dynamics established in the earlier books. As Ferrante shapes and reshapes her narrative, she watches generations of Italian intellectuals do the same for that of their country, continuously redefining the acceptable terms for political and social engagement. When they’re not fixating on Ferrante’s anonymity, reviewers like to talk about “the inner lives of women” and “female friendship” in these novels, as if Ferrante is venturing into entirely uncharted territory—as if women’s interiority hasn’t dominated a good part of the past several hundred years’ fictional output. Maybe Ferrante’s femaleness gets emphasized because we don’t have the vocabulary to describe what is indisputably different about her books, to explain why they read like a revelation to so many readers—this one included. —Rebecca Panovka
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June 23, 2015 | by Dan Piepenbring
The narrator of “Yancey,” Ann Beattie’s story in our new Summer issue, is an aging poet; she tells of her encounter with an IRS agent who shows up to audit her. Toward the end, she recites a poem to him—James Wright’s famous “Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota”:
Over my head, I see the bronze butterfly,
Asleep on the black trunk,
Blowing like a leaf in green shadow.
Down the ravine behind the empty house,
The cowbells follow one another
Into the distances of the afternoon.
To my right,
In a field of sunlight between two pines,
The droppings of last year’s horses
Blaze up into golden stones.
I lean back, as the evening darkens and comes on.
A chicken hawk floats over, looking for home.
I have wasted my life.
As it turns out, that poem first appeared in The Paris Review; it was published some fifty-four years ago alongside his “How My Fever Left” in our Summer-Fall 1961 issue. Since then, that last line has inspired reams of analysis and debate—is it a lament? Is it a joke, a kind of boast? Did Wright intend to undercut or to bolster his pastoral scene with it? Could it be a winking response to Rilke, whose “Archaic Torso of Apollo” concludes with the imperative “You must change your life”? Beattie’s IRS agent isn’t sure what to make of it: Read More »
April 18, 2014 | by Dan Piepenbring
- Marianne Moore’s strange, sad childhood: “Mary [her mother] established a pattern whereby Marianne, in family conversations and correspondence, was invariably referred to as a boy and identified only with male pronouns. Furthermore, Mary encouraged the siblings to regard each other as ‘lovers,’ and to think of her as their ‘lover,’ too.”
- In the Paris of the eighteenth century, elite prostitutes were monitored by the fuzz—but why? “A final and enduring theory is that the reports were meant as bedtime reading for King Louis XV and his mistress, the Marquise de Pompadour, who had been the protector of the police lieutenant general most responsible for establishing the unit in the first place. According to this theory, the reports were meant to enliven the reputedly jaded, enervated royal sex life.”
- Japanese astronauts took some cherry pits into space. Now, one of them has grown into a mighty cherry tree, perhaps with superpowers.
- “Adventure Time is a smash hit cartoon aimed primarily at kids age six to eleven. It’s also a deeply serious work of moral philosophy, a rip-roaring comic masterpiece, and a meditation on gender politics and love in the modern world.”
- “I can’t articulate exactly what it was that turned the roller rink into fantasy-on-wheels for me … the feelings I sought only came from visits to those dingy rinks—their smell of ashtrays, sweat, and desolation. In retrospect, part of what I craved was the roller rink’s ability to detach me from the everyday. Because I frequented roller rinks as they were on their way ‘out,’ they seemed to exist apart from the regular world.”
July 23, 2013 | by B. Alexandra Szerlip
Very often you have to be a lone nut to come up with a really original idea.… People are very insular … even [in] a great city like New York … people are like fish swimming around in aquariums and all they know is the water in the aquarium.
—Francis Ford Coppola
In the summer of 1938, when the first issue of Action Comics introduced the world to Superman, its cover featured the Man of Steel lifting a steel-framed Chrysler Airﬂow, “the first sincere and authentic streamlined car,”1 above his head. It was the 1937 model, down to its rounded, beetle-brow hood and tapered rear, its grooved speed lines and triangular back “opera” window, its whitewall tires and condensed, newly horizontal grille. The following year, when Universal Pictures decided to make a film version of the popular radio serial The Green Hornet, the screenplay called for the hero to drive a car with “ultramodern lines,” something that looked fast. (“That thing travels faster than the bullets I send after it,” notes a patrol officer during a chase scene.) But by then, the Airﬂow—a vehicle vastly superior in speed, safety, and comfort to anything on America’s roads—had been so maligned in the public’s imagination, thanks in part to a competitor’s expensive smear campaign, that, decades later, it would still be spoken of as the greatest failure in automotive history. Instead, Universal chose a 1937 Ford Lincoln Zephyr. The name was meant to evoke the Burlington Zephyr, a 1934 streamlined train (featured in the 1935 film The Silver Streak). When The Green Hornet returned as a TV series in 1966, the Black Beauty returned as a Chrysler Imperial, modified to fire rockets as the 200-mph Black Beauty, the Green Hornet’s signature transport, its speedster “look” augmented with stylized lightning bolts painted on the fender skirts and a “Flight of the Bumblebee” soundtrack.
Chrysler’s 1929 coupe had been inspired, claimed company ad men, by “the canons of ancient classic art … authentic forms of beauty which have come down the centuries unsurpassed and unchallenged,” its radiator with cowl molding suggested the repetition motif in a Parthenon frieze, its front elevation replicated the Egyptian lotus leaf pattern. “This patient pursuit of beauty will doubtless prove a revelation to those who have probably accepted Chrysler symmetry and charm as fortunate but more or less accidental.” The following year, the new models were said to be “as distinctive and charming” as the Parisian couture of Paquin and Worth. But the focus soon shifted from ancient history and European aesthetics to what was taking shape in the New World’s own backyard. Walter P. Chrysler was a self-made man who understood the importance of tenacity and vision. In 1905, he had borrowed a considerable amount of money to buy a car that caught his eye for the sole purpose of dismantling it to see how it worked. A few years later, he was General Motors’s first vice president, and not long after that, he quit to start a rival company that was now riding high. In 1933, despite a debilitating economy—wages nationwide had dropped sixty percent, more than twelve million Americans were unemployed, and business as a whole was running at a net loss exceeding five billion dollars—Chrysler turned a considerable profit, the only company to produce more cars that year than it had in its Parthenon-Egyptian Lotus phase, just prior to the crash. Read More »