Posts Tagged ‘Michael Ondaatje’
April 26, 2012 | by Leanne Shapton and Ben Schott
Paint Samples, suitable for the home, sourced from colors in literature. As seen in our two-hundredth issue.
- “The clouds have their old color back, their old English color: the color of a soft-boiled egg, shelled by city fingers.” ‘London Fields,’ Martin Amis.
- “They hurried out of the room and returned in a minute or two, each pushing a kind of tall dumb-waiter laden, on all its four wire-netted shelves, with eight-month-old babies, all exactly alike (a Bokanovsky Group, it was evident) and all (since their caste was Delta) dressed in khaki.” ‘Brave New World,’ Aldous Huxley.
- “Instead, she’d burst into tears. Wetting the front of her navy-blue rayon housewife dress.” ‘Blonde,’ Joyce Carol Oates.
- “Then Kolokolo Bird said, with a mournful cry, ‘Go to the banks of the great gray-green, greasy Limpopo River, all set about with fever-trees, and find out.’ ” “The Elephant’s Child,” Rudyard Kipling.
- “Miss Mapp inclined her head. Silence was gold.” ‘Miss Mapp,’ E.F. Benson.
- “So Becca shows up at the last minute, right before post time. She’s already called about eighteen times just to let us know that she’s coming, finally she dances through the door in this micro lycra red dress— just a sheath really, perfect for that 3:00 a.m. nightclub appearance, but like even I wouldn’t be caught dead walking around in this thing in the middle of the day. But the boys love it and it gets so quiet for a minute you can hear the sound of tongues dropping and saliva splashing on the floor.” ‘Story of My Life,’ Jay McInerney.
- “Percy showed it to him last night—over a pink gin, was it, Percy, at the Travellers’?” ‘Tinker, Tailor, Soldier, Spy,’ John le Carré.
- “Lydia never looked clean; her skin was not pitted like Joe’s but it had a permanent grayness, the grayness of one reared on baked beans, jelly and bread and dripping.” ‘The Millstone,’ Margaret Drabble.
- “‘The important thing, dear,’ she said, ‘is to have a really good fur coat, I mean a proper, dark one.’ To Lady Montdore, fur meant mink.” ‘Love in a Cold Climate,’ Nancy Mitford.
- “He’s very close to being the shade of the walls, isn’t he, and the shade of the walls is exactly the color of the inside of Rothko’s forearm.” ‘Breaking and Entering,’ Joy Williams.
- “He will not open the screen and capture their pollened bodies. He did this once and the terrified thrash of the moth—a brown-pink creature who released col- ored dust on his fingers—scared them both.” ‘In the Skin of a Lion,’ Michael Ondaatje.
- “ ‘Now, darling,’ she said sailing past me into the kitchen. ‘I’ve brought you some nice soup, and some smart outfits of mine for Monday!’ She was wearing a lime green suit, black tights and high-heeled court shoes.” ‘Bridget Jones’s Diary,’ Helen Fielding.
- “‘Well, let’s try and have a fine time.’ ‘All right. I was trying. I said the mountains looked like white elephants. Wasn’t that bright?’ ” “Hills Like White Elephants,” Ernest Hemingway.
- “Cousin Bette, a victim, ever since her arrival in Paris, to a longing for cashmere shawls, was fascinated by the thought of possessing this particular yellow camel’s-hair, given by the baron to his wife in 1808, and according to the custom of certain families passed over to the daughter in 1830.” ‘Cousin Bette,’ Honoré de Balzac.
- “I saw large gray eyes in a bright, lively face, and suddenly this face began to quiver and laugh.” ‘First Love,’ Ivan Turgenev.
- “He seemed, unfortunately, to have no proper teeth—how was he, then, to grasp the key?—but the lack of teeth was, of course, made up for with a very strong jaw; using the jaw, he really was able to start the key turning, ignoring the fact that he must have been causing some kind of damage as a brown fluid came from his mouth, flowed over the key and dripped onto the floor.” ‘The Metamorphosis,’ Franz Kafka.
- “Everywhere I go, upstairs or down, they all cast admiring glances at my feet, which are adorned by a pair of exceptionally beautiful ( for times like these!) shoes. Miep managed to snap them up for 27.50 guilders. Burgundy-colored suede and leather with medium-sized high heels. I feel as if I’m on stilts, and look even taller than I already am.” ‘Diary of a Young Girl,’ Anne Frank.
- “He was the color of moss, that color green. It was as if he had been wrapped up in moss a long time, and the color had come off all over him.” “Nobody Said Anything,” Raymond Carver.
- “When I awoke, B. and the girl had gone, leaving in the wake of their coupling a great mountain of disheveled bedding, a brilliant stain of orange lipstick smack in the middle of the pillow, and on the exposed sheet the untidy evidence of their urgency.” ‘A Fan’s Notes,’ Frederick Exley.
- “Ah, brig, good-night / To crew and you; / The ocean’s heart too smooth, too blue, / To break for you.” “Shipwreck,” Emily Dickinson.
- “And then later that business down below, his thick cock that blue-brown of Mediterranean types and, he wonders if her hair there is as curly as the hair on her head, in and out, he can’t believe it will happen, while the rest of them sit here listening to the rain.” ‘Rabbit Is Rich,’ John Updike.
- “These are her underclothes, in this drawer. This pink set here she had never worn. She was wearing slacks of course and a shirt when she died.” ‘Rebecca,’ Daphne du Maurier.
- “‘If it wasn’t for the mist we could see your home across the bay,’ said Gatsby. ‘You always have a green light that burns all night at the end of your dock.’ ” ‘The Great Gatsby,’ F. Scott Fitzgerald.
- “In the black pubic hair, ladies and gentlemen, weighing one hundred and seventy pounds, at least half of which is still undigested halvah and hot pastrami, from Newark, NJ, The Shnoz, Alexander Portnoy! And his opponent, in the fair fuzz, with her elegant polished limbs and the gentle maidenly face of a Botticelli, that ever-popular purveyor of the social amenities here in the Garden, one hundred and fourteen pounds of Republican refinement, and the pertest pair of nipples in all New England, from New Canaan, Connecticut, Sarah Abbott Maulsby! ” ‘Portnoy’s Complaint,’ Philip Roth.
- “When the first gosling poked its gray-green head through the goose’s feathers and looked around, Charlotte spied it and made the announcement.” ‘Charlotte’s Web,’ E.B. White.
- “Not a dandelion in sight here, the lawns are picked clean. I long for one, just one, rubbishy and insolently random and hard to get rid of and perennially yellow as the sun.” ‘The Handmaid’s Tale,’ Margaret Atwood.
- “At the violet hour, when the eyes and back / Turn upward from the desk, when the human engine waits / Like a taxi throbbing waiting.” ‘The Waste Land,’ T. S. Eliot.
- “For all her chic thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanness, a rough pink darkening in the cheeks.” ‘Breakfast at Tiffany’s,’ Truman Capote.
March 27, 2012 | by Emma Straub
I’ve worked for the band the Magnetic Fields for the past ten years and have sold their merchandise on every tour since they released i, in 2004. Their latest tour, for their new record, Love at the Bottom of the Sea, began last week, and, as is my wont, I’ve been taking notes. After a warm and fuzzy show in Hudson, New York, the first completely positive experience in Philadelphia in recent memory, and a very quick trip to Minehead, England, for All Tomorrow’s Parties, the Magnetic Fields took the Tour at the Bottom of the Sea to Austin, Texas, for their first-ever appearance at South by Southwest, the juggernaut music festival that turns the entire city into a beer-and-taco-stained pair of jeggings. Half the band and crew flew in from New York, and the other half from Boston, meeting up in the Dallas-Fort Worth airport for the puddle jumper to Austin. We shared the plane with several members of the E Street Band, which made Sam Davol (cello) quiver with excitement. When we landed, the steamy Texas air relaxing our synapses, Sam asked E Street violinist Soozie Tyrell for her autograph, and I made a proclamation: in Austin, I was going to find a) Bruce Springsteen or b) Timmy Riggins, my very favorite fictional character on Friday Night Lights, played by heartthrob and Austin resident Taylor Kitsch. I find that wishes are more likely to come true when spoken aloud. Read More »
August 23, 2011 | by Robyn Creswell
The summer issue of The Paris Review includes a series of poems by Cathy Park Hong. Hong has published two books of poetry, Translating Mo’um (2002) and Dance Dance Revolution (2007). She teaches at Sarah Lawrence College.
The poems published in this issue come from a longer work, entitled “Fort Ballads.” How does it fit into your forthcoming book, Engine Empire?
“Fort Ballads” is part of the first section in Engine Empire. The poems in the collection range from a trilogy, ranging from Western ballads to love poems set in present-day industrial China to poems set in a virtual future. “Fort Ballads” follows a band of outlaw fortune-seekers who travel to a California boomtown during the 1800s. The boomtown isn’t real; it’s full of strange, violent, sometimes surreal happenings. It’s my own way of mythologizing California, which is where I’m from. The main character is “Our Jim,” who’s half Comanche Indian. In creating him, I was thinking of the typical iconic Western guys, like Billy the Kid, but his story is also reminiscent of Huck Finn and maybe a little of Faulkner’s Joe Christmas. He’s an orphan, a cipher, a boy trapped between identities, both innocent and vengeful. But the section isn’t all narrative—there are sound poems in there as well, where I let myself wallow in kitschy Western vernacular. Read More »