Posts Tagged ‘New Jersey’
June 3, 2013 | by Sadie Stein
In April, Philip Roth published a eulogy for his beloved high-school teacher Bob Lowenstein in the New York Times. A couple of weeks ago, Roth visited Audible.com’s Newark, New Jersey, headquarters to record an audio version of the eulogy, which is now available as a free audio download at Audible. Listen to an exclusive clip below.
For every download of “In Memory of a Friend, Teacher and Mentor,” Audible will donate $1 to the Newark Public Library. “We are delighted to be able to offer Philip Roth’s legions of fans this special audio recording of Philip reading his moving eulogy for his high school teacher,” said Audible founder and CEO Donald Katz. “Here at Audible, we celebrate our connection to the great city of Newark every day, and as a literary company we take special pride in the fact that Newark is Philip’s hometown. Hearing a legendary author reading his own words can be an incredibly intimate and moving experience, and we hope many people will download this wonderful audio piece and in doing so help us support the Newark Public Library, which sustained Philip as a young reader and writer.”
Mr. Roth was kind enough to talk a bit about the audio recording, the important role of the library during his childhood and young adulthood, and the inspiration teachers can provide.
I understand that all of the conference rooms at Audible are named for people or places significant to Newark and its history, and that it has a Philip Roth room. Did you record there?
No, that’s a conference room. It’s right next to the Stephen Crane conference room. I recorded in a little studio named for Duke Ellington.
Are you someone who can listen to his own voice?
I haven’t done much of it.
As a rule, you don’t do audio recordings?
No, I don’t.
Have you listened to other recordings of your work?
As a matter of principle, or lack of interest?
I listened once. That took care of it. Read More »
October 16, 2012 | by Kate Levin
One recent weekday afternoon, I left my apartment in Los Angeles, walked three blocks, and bought a movie ticket. I was at liberty to see a movie in the middle of the day because I had just left my job, having decided to spend some time not “working,” but writing—and I needed to see a movie because the writing was not working. There was no writer’s block, per se: words trickled out, they were just terrible in that first-draft-fiction way. Compounding this writerly self-doubt was the uncomfortable feeling that I’d invoked a huge privilege—namely, a class privilege (my household could get by for a time, our dogs’ pampered existence intact, without my salary)—to produce a Word document full of tired characters and clichés. Worse still was the suspicion that I was, myself, a tired character and a cliché: too neurotic and guilt stricken to enjoy this temporary luxury and try to do something good with it.
And so, off to the movies. I’d just read about the documentary The Queen of Versailles, said to be the “riches-to-rags” story of a billionaire time-share mogul and his wife forced to cease construction on their new ninety-thousand-square-foot home (the largest in America, once finished) when the economy collapsed. So I chose that one: it was well reviewed, prize winning, and very much of the broader world, a good counterweight to the swimmy interiority of novel drafting. I was also drawn to it because it sounded like the kind of movie I would see with my dad back when I lived in New York; he and I would meet up at the Film Forum after work, usually for some edifying progressive documentary—The Trials of Henry Kissinger or Bush Family Fortunes, say—the significance of which we would then gnaw on over pad Thai afterwards. I liked films like this, and talking to my dad about them, because they helped me make sense of the world, and because they drew clean, reassuring lines in my brain between justice and injustice. Which is to say, walking into The Queen of Versailles, I expected to see a movie about some greedy one-percenters getting their comeuppance and feel good about that.
In a sense, I did. David Siegel, the time-share king, made his billions by seducing people into buying time-shares they can’t afford, largely by convincing them that the purchase will help them feel less like a working stiff and more like a rich person. This isn’t an interpretation but a matter of record—we see his sales force in action, as director Lauren Greenfield captures them talking strategy, luring people to sign on the dotted line, and, later, trying to extract payments from distressed customers after the housing bubble bursts. At that point, when banks refuse to lend to David and he becomes a “victim” of the system from which he has profited so outrageously, we savor the irony all the more because, well, David is a schmuck. He brags to Greenfield about having helped deliver the 2000 election to George W. Bush through “extra-legal” means (the Siegels live in Florida), but won’t elaborate. He channels his philanthropic impulses toward beauty pageants (Jackie Siegel, his wife, is a former beauty queen); a big patron of the Miss America organization, Siegel exudes lecherous entitlement when chatting up the young contestants at a party at his and Jackie’s home. When the Siegels fall on what passes for hard times—droppings from their countless white fluffy dogs pile up around the house, their domestic staff having been reduced to one; Jackie starts shopping at Walmart; there is suddenly talk of an “electric bill”—David becomes irritable and withdrawn, generally making life miserable for Jackie and the couple’s eight children. Partly because we know that the Siegels will always land on padded feet—even if their absurd imitation-Versailles mansion does slip from their grasp, a question that remains unresolved by the end of the film—it’s easy to root against David.
Jackie is a more complicated case. Read More »
July 11, 2012 | by Sadie Stein
May 13, 2011 | by Thessaly La Force
Your protagonist is a twenty-six-year-old Albanian immigrant named Lula who lives in New Jersey. Why Albania?
If you are going to write a novel, I would not suggest that you pick an Albanian unless you are an Albanian. I was writing about immigration, and I wanted to pick someone from the most psycho-isolated Eastern-bloc country. If you go to the Czech Republic now, it is deceptively easy to forget what happened there. But if you go to Albania now, you are not going to forget it— you just can’t; then is now.
In a strange way, the novel began ten years ago, when I was staying at this really crappy Hilton in Tampa, Florida, for a weekend. We got there and there was a plate of food outside someone’s door in the corridor. It was there when we got there and it was there when we left, and I thought, This is just like Eastern Europe, because no one really cares if you ever come back again. In the late eighties, I went with my family to former Yugoslavia. We showed up at some restaurant, ordered dinner, and the waiter came back two hours later and said, “What? I had to eat my dinner.” End-stage capitalism and Eastern-bloc communism have a lot of things in common, as Lula discovers in the course of the book.
So you visited Albania?
I did. I got about forty pages into the novel and I couldn’t go any further. It turns out that you can’t find out about Albania on YouTube as much as one might like to. I mean, you can learn about people’s vacations and weddings and so forth, but not much more. So I went on a trip with the State Department. I was there for about two weeks and I just loved it.
Do you think one has to acquire experience to be a novelist?
Well, I would, because nothing has ever happened to me. I had to go to Albania; I couldn’t make it up. It more often happens the other way around. It is not as if you go around saying “I think I will have a love affair, and then I will write about one.” It’s more “Blah-blah broke up with me and said the most cruel thing,” and ten years later you find a way to put it into a book.
January 11, 2011 | by Nathan Harger
My process is different every time. Sometimes I stumble upon places, objects or spaces that I then go back and photograph. I also do research and travel to cities in the U.S. that are historically known as industrial, like Bethlehem and Bath in Western Pennsylvania. I’m not actually looking for anything specific; there’s no predetermined idea in my mind. I walk around these industrial sites until I find the shapes and structures that are rich in lines and geometric forms. I often travel to New Jersey, mainly to Elizabeth. It’s a heavily industrial city, a blue-collar working-class city. A friend of mine wanted to come shoot with me one day—he’s from Cleveland, which is where I grew up. He found it hilarious that I moved from Cleveland to New York, because I keep going to places that look like Cleveland.
As a photographer, I’m visually attracted to the same things I found compelling when I thought I’d be an industrial designer. When I started art school, I realized I liked the medium of photography and its immediacy more than drawing. When I take photos of these places that already exist I can then see them through my own perspective, instead of re-creating them through a sketch or a drawing. The photographs featured in the show were taken in New York, New Jersey, Ohio, and Western Pennsylvania.