Posts Tagged ‘Michael Hofmann’
September 21, 2016 | by Dan Piepenbring
- I used to take such pride in my literacy. “Look at me!” I would shout, running down the street in my I’M LITERATE T-shirt. “I can read!” But now the pep is out of my step, because apparently even pigeons can learn to read: “Through gradual training, the birds moved from learning to eat from a food hopper, to recognizing shapes, to learning words … After narrowing down to the four brightest birds out eighteen, over eight months of training, the advanced-class pigeons were taught to distinguish four-letter words from nonwords. They were even able to tell the difference between correctly spelled words and those with transposed characters, like ‘very’ and ‘vrey,’ or words with different letters included to make them completely misspelled.”
- And that means it’s only a matter of time until the pigeons will be texting, too, because that’s what everyone does now. What do you think the pigeons are gonna do, use the telephone? The phone call is dead. Don’t even bother making a friendly call, unless you’re a needy loser. Timothy Noah tells us, “The phone call died, according to Nielsen, in the autumn of 2007. During the final three months of that year the average monthly number of texts sent on mobile phones (218) exceeded, for the first time in recorded history, the average monthly number of phone calls (213). A frontier had been crossed. The primary purpose of most people’s primary telephones was no longer to engage in audible speech … Calling somebody on the phone used to be a perfectly ordinary thing to do. You called people you knew well, not so well, or not at all, and never gave it a second thought. But after the Great Texting Shift of 2007, a phone call became a claim of intimacy. Today if I want to phone someone just to chat, I first have to consider whether the call will be viewed as intrusive. My method is to ask myself, ‘Have I ever seen this person in the nude?’ ”
April 11, 2016 | by Dan Piepenbring
- Though his criticism can be acid, and though it sometimes deploys words like gassy, Michael Hofmann isn’t “a lit-crit Johnny Fartpants,” experts say: “As he sits in an incongruously rowdy Hamburg bar, all shy eyes and nervous hands, one is reminded that he is also a poet and translator: a humble servant of words, not just their sneering judge. In smooth RP tones that belie his German parentage, he explains that none of his hatchet jobs were written out of personal animosity … ‘I have a sense of the enterprise being ecological,’ he says. ‘There is so much excessive praise and excessive interest in the books world, and it’s all too focused on too few people. If you cut things down to scale, you do something good.’ ”
- Tinnitus is more than a condition. It’s a worldview. Or so it is if you’re among the lucky 2 percent of the population who can hear the Hum, widely reported as “a low, distant rumbling, like an idling diesel engine, mostly audible at night, mostly noticeable indoors.” Colin Dickey looked into it: “Hum sufferers have been consistently written off as either delusional or simply suffering from tinnitus … It’s important to remember that there’s so much we still don’t know about how hearing works. We know low-frequency waves can cause pain, nausea, and other deleterious effects on humans—indeed, the United States and other governments have long experimented with using sound and vibration as nonlethal weapons … Add to this the fact that since the early twentieth century we’ve been bombarding the atmosphere with all manner of frequencies and waves. Rather than dismiss Hum hearers as delusional tinnitus sufferers, the question that might be better asked is why don’t more of us hear it?”
- There’s an argument to be made that any and all instances of the Hum are in fact to be pinned on Tony Conrad, the experimental filmmaker and drone-music progenitor, who died last week at seventy-six: “After his graduation in 1962, Mr. Conrad briefly worked as a computer programmer and immersed himself in New York’s experimental music scene. As part of Mr. Young’s ensemble, he performed seemingly improvisational pieces that involved holding notes for what might have felt like hours at a time. Some audiences found the music maddening; others were exalted. ‘It appeared as if Schoenberg had destroyed music,’ Mr. Conrad said … ‘Then it appeared as if Cage had destroyed Schoenberg. Our project was to destroy Cage.’ ”
- For aesthetes, the mug shot provides a great reason to avoid a life of crime—it’s so unforgiving, so permanent. A new exhibition at the Met, “Crime Stories: Photography and Foul Play,” looks at its history: “In the 1870s, a Parisian policeman named Alphonse Bertillon pioneered the mug shot as part of his ‘anthropometric’ system of criminal identification based on minute physical measurements. For no pay, he spent his free hours examining inmates at La Santé prison, using calipers and rulers to record the length and width of prisoners’ fingers, noses, foreheads, and mouths … If one measure of a photograph’s power is the extent to which it inspires us to fill in the circumstances around it, then the mug shot of a 1930s Baltimore shoplifter is a small masterpiece of portraitist art. A woman in her late forties, with whitening blonde hair, turns slightly away from the police photographer’s camera with a mix of melancholia and trapped defiance. The flesh around her left eye is badly bruised, a messy black puddle that spills along her cheek and temple. Who slugged her—the department store security guard, the arresting cop, the shopkeeper himself, or an intimate friend? Her lips are thin and subtly crooked, her jawline is just beginning to sag. The life before (and after) the picture rushes in on you in an imagined story of filled-in time.”
- Violette Leduc was a protégé of Simone de Beauvoir, and yet she seldom appears on syllabi—why? “A journey through Leduc’s rejections, documented in her autobiographies La bâtarde (1964) and Mad in Pursuit (1970), lay bare the insidious gatekeeping that money and masculinity exert on literary inclusion, then and now. Leduc was born poor and illegitimate; her mother is the help, her father is the heir and she, the child of their furtive union, is unwanted … De Beauvoir spent her time earning the title ‘intellectual.’ Her story is one of early erudition, acing exams, stunning philosophical acuity and a romantic (if also conveniently strategic) alliance with Sartre. In Leduc, she sees the authenticity that she theorizes, and in playing midwife to her self-exposition she seeks the vindication of her philosophy. In existentialism, we are all free to choose, exercise our radical free will; the constraints of past experience can be shaken off, truth told and freedom achieved. Leduc’s life, told in her writing, has to be evidence of the truth of this. De Beauvoir’s feminism, unleavened by any literal struggles with the whims of men, needs Leduc’s literary liberation to prove its practical application.”
September 2, 2015 | by Dan Piepenbring
Part of a letter from Joseph Roth to Blanche Gidon, his French translator, sent October 11, 1932. Roth, born on this day in 1894, used his letters to vent his spleen, often about money and politics; in this note he rails against French publishing. (“Une heure avec” refers to a regular interview feature in the literary weekly Les Nouvelles Littéraires.) “His actual molten, sun-spotted core,” writes his English translator Michael Hofmann, “flares nakedly in these letters.” Hofmann’s Joseph Roth: A Life in Letters was published in 2012.
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September 1, 2015 | by The Paris Review
I like the idea of writing a poem I could have written thirty years ago. I’m the factory. My writing fears manifest more on the order of my inability to stop being Eileen Myles. I guess I don’t worry about my poems so much. I worry about me.
Myles also shares a few of her favorite artworks in our portfolio.
And our managing editor Nicole Rudick discusses the Art of Fiction with Jane Smiley:
One of the things I love about novels is that, in addition to offering good stories and having ideas about how the world works, they’re also artifacts about the details of the time in which the author lived … I would imagine somebody in a hundred years reading one of my novels and going, Are you shitting me? The shingles were going the wrong direction? Or, What are shingles?
There’s also one of James Salter’s final lectures; new fiction from Ottessa Moshfegh, Patrick Dacey, and Deborah Eisenberg; the second installment of Chris Bachelder’s novel The Throwback Special, with illustrations by Jason Novak; poems by Ange Mlinko, Eileen Myles, Michael Hofmann, Stephen Dunn, Kevin Prufer, Geoffrey G. O’Brien, Nathaniel Mackey, and Linda Pastan; and an essay by Robert Anthony Siegel.
August 25, 2015 | by André Naffis-Sahely
Joseph Roth’s hotel years.
“I am a hotel citizen,” Joseph Roth declared in one of the newspaper dispatches anthologized in The Hotel Years: Wanderings in Europe Between the Wars, “a hotel patriot.” It’s easy to see why: Red Joseph was nothing if not a cosmopolitan humanist, and the hotel was his natural habitat. “The guests come from all over the world,” he explains:
Continents and seas, islands, peninsulas and ships, Christians, Jews, Buddhists, Muslims and even atheists are all represented in this hotel. The cashier adds, subtracts, counts and cheats in many languages, and changes every currency. Freed from the constriction of patriotism, from the blinkers of national feeling, slightly on holiday from the rigidity of love of land, people seem to come together here and at least appear to be what they should always be: children of the world.
December 7, 2014 | by Dan Piepenbring
“Art isn’t always what—or where—you expect to find it.” Nicole Rudick looks at art ephemera.
Walter Benjamin used to write a radio show for children—here he tells a story with thirty brainteasers. (We’ll post the answers on Thursday.)
“I think poetry is always one or two poets away from extinction.” Michael Hofmann and Jack Livings talk about poetry, translation, and Vespas.
An interview with Julia Wertz about her online comic, Fart Party, now collected in a new book, The Museum of Mistakes. “I’m a real bitch in my work. No one likes a happy-go-lucky character—that’s the character everyone wants to see destroyed.”
Twenty-five years after Wild at Heart, Barry Gifford’s novels are still weird on top.
Two centuries after the Marquis de Sade, a French exhibition traces his influence.