Posts Tagged ‘memorials’
May 27, 2016 | by Dan Piepenbring
- As an editor at Faber & Faber, T. S. Eliot had the chance to publish Animal Farm. He declined. And he had sound porcine reasons for doing so, according to a newly digitized letter he wrote Orwell in 1944: “The positive point of view, which I take to be generally Trotskyite, is not convincing … After all, your pigs are far more intelligent than the other animals, and therefore the best qualified to run the farm—in fact, there couldn’t have been an Animal Farm at all without them: so that what was needed (someone might argue), was not more communism but more public-spirited pigs.”
- Memorial Day has only been around for about 150 years, meaning it’s not terribly old as far as memorials go. Consider instead the Bayeux Tapestry, which likely dates to the 1070s. Alison Kinney writes, “It’s a seventy-by one-half-meter length of linen panels worked in crewel, its madder-, mignonette-, and woad-dyed yarns still as vivid, after a thousand years, as the tints of the Art Nouveau comic strip Little Nemo … The medievalist Valerie Allen writes about the Bayeux Embroidery’s ‘dynamic things grounded in space and time,’ ‘from kitchen utensils to war gear … Objects acquire a kind of agency by exerting their inherent “virtue,” wearing down conventional distinctions between human and non-human to the point that a hand, a sword and a relic can all share in the same phenomenal luminosity.’ The Embroidery itself is just such a luminous agent: a war memorial—a Normandy Beach war memorial, no less. In this place occupied by hundreds of memorials, planned and incidental, fleeting and obdurate, from funerary sculpture to the bunkers that, after seventy years of coastal weather, still bear flamethrowers’ char marks, memorials develop unpredictable, unaccountable vibrancies that can shape the conflicts, even the topography, of later battles. That is, if they can first escape violence, neglect, and ordinary wear and tear.”
- Because your day needed the phrase intravaginal hardware for the pregnant body in it, here is Sasha Archibald on a thrilling development in consumer electronics: “A company in Spain recently released a new product, the Babypod. The device entails a small roundish speaker … The idea is to insert the speaker inside one’s vagina, like a tampon, and connect the auxiliary jack to an iPhone, from which the mother-DJ selects a playlist. The music is piped in directly where it can be heard best … Women have presumably always enjoyed the utility of an interior pocket, though no one has written this history. The nineteenth-century spirit medium Eva C. had a trick of producing ectoplasm from her vagina, and police report finding jewels and drugs, money and handguns, stolen phones and credit cards. In these cases, the vagina is treated as a secret lockbox—a hiding place no one will think to look, the corporeal equivalent of a buried treasure chest. The Babypod inhabits the woman in a totally different fashion. The very purpose of the device is to announce itself and broadcast sound. It makes the vagina speak. The Vagina Monologues didn’t need to get more literal, but they have.”
- While we’re in the vicinity of the genitals: “When reporters are forced to write about sportsmen kicking each other in the nuts, what do they write? This week has provided some answers … In ninety-six articles, totaling a little more than fifty thousand words, groin was used 148 times across headlines, body and photo captions. Of course, in sports, groin injuries can mean something very different from your basic knee to the crotch. So at best, this creates unnecessary ambiguity in order to demur from coarser language. The next most frequently used was some form of below the belt with seventeen appearances, followed by nuts with fifteen, low blow with fourteen, a few variations of private parts totaling twelve, between the legs with ten, and balls with nine.”
- There’s one last thing you need to do before the holiday weekend, and that’s to engage in a debate about canon formation with whomever is sitting nearby. As a launching-off point, consider this: “A great artist possesses both empathy and imagination: Many of Shakespeare’s female characters are as complexly nuanced as any in circulation today, Othello takes on racial prejudice directly, and Twelfth Night contains enough gender-bending identity shenanigans to fuel multiple drag shows and occupy legions of queer scholars … Although you’ve written that the English department ‘actively contributes to the erasure of history,’ what it really does is accurately reflect the tainted history we have—one in which straight white cis-men dominated art-making for centuries—rather than the woke history we want and fantasize about. There are few (arguably no) female poets writing in Chaucer’s time who rival Chaucer in wit, transgressiveness, texture, or psychological insight. The lack of equal opportunity was a tremendous injustice stemming from oppressive social norms, but we can’t reverse it by willing brilliant female wordsmiths into the past. Same goes for people of color in Wordsworth’s day, or openly queer people in Pope’s, or … ”
November 10, 2015 | by Shona Sanzgiri
Visiting the altars for Dia de los Muertos.
Thirty miles from the city of Oaxaca is San Pablo Villa de Mitla, where, according to Mesoamerican lore, the dead go to rest. It’s a small town surrounded by mountains and distinguished by an arid climate, which has preserved relics up to ten thousand years old and attracted archaeologists from all over the world. During the days around Dia de los Muertos, Mitla transforms into a gateway for the deceased lured by the town’s many altars, built by their loved ones, still living here in this world.
The ornate displays are abundant with ofrendas, offerings of food and drink. Pyramids of fruit, bursting marigolds, packs of Marlboros—or Camels or Chesterfields, depending on one’s preference—ripe plantains, candles of all sizes, meticulously decorated loaves of pan de muertos, and clay gourds of mescal and water (even the dead suffer from hangovers) comprise most offerings. Pictures of the deceased, typically unsmiling, feature in the center of the room, encircled by votives and depictions of different Catholic saints and apostates. The room often smells of woodsy black and white copal, an incense made from tree resin. Read More »
September 4, 2014 | by Daniel Genis
This weekend, an intersection in Queens will be renamed Sergei Dovlatov Way.
Sergei Dovlatov gave me a pistol when I was a child. It was just an air gun, it turned out, but my mother couldn’t tell the difference, and she was justifiably horrified to see me running around with a semiautomatic. It did not have a red plastic tip and it was nicely chromed, from somewhere in Eastern Europe. With enough pressure pumped into it, its little steel pellets could really hurt someone. Dovlatov found this very funny. Now we New Yorkers are naming a street after him.
And I’m thrilled. That street in Forest Hills, Queens, is the same one where his widow lives; it’s where his daughter, who recently translated Dovlatov’s great novel Pushkin Hills, grew up; and it’s where I grew up, too. At least eighteen thousand people share in my enthusiasm—that’s the number of petitioners it took to make this happen. That it’s such a formidable number should come as no surprise. Even if Joseph Brodsky was the greatest member of the so-called Third Wave of Russian immigrants—he won the Nobel and married an Italian woman—it’s Dovlatov whom readers love viscerally, unconditionally. How can we help it? When Matt Taibbi showed up to inaugurate Katherine Dovlatov’s translation a few months ago, I asked why he came: it was because Dovlatov was the one Russian author who made him laugh out loud. And suddenly we understood one another. Dovlatov made me laugh out loud, too, first in person, and then when I grew up, through his literature.
During the height of his fame, Dovlatov’s works were read universally. Solzhenitsyn, a dour man in his Vermont stronghold who wished to have nothing to do with the Third Wave “sausage immigrants,” read his entire three-volume collected works. The pieces translate easily because of their inherent humanity, and their humor, remarkably, translates as well. In Russia, where his work was retyped at night for samizdat, his secret readership grew, making many a fan. Half of Russia sat in jail, the other half stuck around to be with the first, and Dovlatov had been in both positions—and wrote about it, and still made it funny. The KGB, of course, was not a fan; they even destroyed typeset plates that had been prepared for publication. Dovlatov took the dissident-lite approach of simply not taking the Soviet Union seriously, and for this he was beloved. Read More »
May 28, 2014 | by Dan Piepenbring
There is, I hope, a thesis in my work: we may encounter many defeats, but we must not be defeated. That sounds goody-two-shoes, I know, but I believe that a diamond is the result of extreme pressure and time. Less time is crystal. Less than that is coal. Less than that is fossilized leaves. Less than that it’s just plain dirt. In all my work, in the movies I write, the lyrics, the poetry, the prose, the essays, I am saying that we may encounter many defeats—maybe it’s imperative that we encounter the defeats—but we are much stronger than we appear to be and maybe much better than we allow ourselves to be. Human beings are more alike than unalike. There’s no real mystique. Every human being, every Jew, Christian, backslider, Muslim, Shintoist, Zen Buddhist, atheist, agnostic, every human being wants a nice place to live, a good place for the children to go to school, healthy children, somebody to love, the courage, the unmitigated gall to accept love in return, someplace to party on Saturday or Sunday night, and someplace to perpetuate that God. There’s no mystique. None. And if I’m right in my work, that’s what my work says.
—Maya Angelou, the Art of Fiction No. 119