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Posts Tagged ‘New York City’

The Gordon

August 24, 2015 | by

From a fifties-era Pan Am ad.

There was a time when I didn’t know Gordon Bishop, but that time’s not worth talking about.

I met Gordon in his shop, Tropics, sometime in the early eighties. I’d been walking through Soho and noticed a store I hadn’t seen before. Inside was a jumble of Javanese antiques—carved doors; four-poster beds; objects that seemed decorative, ceremonial, and incomprehensible—along with fabrics and wall hangings and kites and sculptures. It looked like Santa’s workshop, if Santa had a penchant for priapic statues of half-dressed men with enormous erections and wicked smiles.

No one seemed to be working there, but I heard flute and gamelan music coming from the back room. There was a curtain separating me from the music, along with the sort of velvet rope commonly seen in discos, and a hand-painted sign fixed to the rope: DO NOT ENTERRead More »

We Are All Sensitive People

August 14, 2015 | by

From the cover of Let’s Get It On.

On an uptown local train during the height of an August rush hour, an old man fell asleep in his seat. It should be said that the man in question probably believed his music was contained; he was wearing earbuds. But either he’d neglected to properly plug the headphones into the outlet or the mechanism was somewhat faulty. Because for whatever reason, “Let’s Get It On” started blasting loudly in the otherwise quiet car.

The average urbanite sees a few things in a lifetime of public transit. Kids fighting. Women screaming. Perverts perving. Madmen ranting violently. And the occasional eel, escaped from a shopping bag, writhing wildly down the length of a J-train car. On one occasion, a seven-foot schizophrenic caked in filth spent the better part of an uptown express trip berating a woman whom he claimed had grabbed his ass, threatening to turn her into the transit cops for sexual harassment.

And yet, I have never seen a trainful of passengers more uncomfortable than in the moment when the first four insinuating notes started to play, and Marvin Gaye’s sensuous, passion-roughened voice filled the car. Read More »

Tickle the Feline Ivories, and Other News

July 17, 2015 | by

catpiano

Illustration of the cat piano from La Nature, vol. 11, 1883.

  • Earlier this year, Donald Antrim gave a commencement speech at Woodberry Forest School. His subject was “the unprotected life” and coping with its devastations. For years after a long suicidal depression, he said, “I did not write. It was enough to be restored, and I deeply and sincerely regretted ever writing at all. I’d seen what it could do, what my own choices, my own work, had done to me. I was afraid of what I might write, and afraid, too, that, were I to sit down to it, were I to try, I would only learn that I was broken, and that it was no longer possible for me to bring out a word.”
  • Time was, if you didn’t like any of the real musical instruments out there in the world, you’d just make one up in writing. The rich history of “fictophones”—imaginary musical instruments—includes Francis Bacon’s pluperfect sound-houses (“where we practice and demonstrate all sounds and their generation”), the tublo cochleato (an enormous French horn-ish megaphone thing for amplifying the voice), and the torturetron (an organ that sends spikes into the sides of anyone near it, thus adding their pained groans to its own sounds). Best of all, though, is the cat piano, “a set of cats arrayed as sound-producing elements to be activated by the fingers,” which dates to the sixteenth century and was rumored to have cured an Italian prince of his melancholia.
  • Information overload is often depicted as one of the most tragic fates of the media age, anathema to all who prize the human condition. But it could be pretty good for poets, who can drown themselves in the “information sublime”: “Poets have not been passive victims of the proliferation of information, but rather have actively participated in—sometimes benefiting from, sometimes implicitly advocating, sometimes resisting—that proliferation … Poetries of information overload—by which I mean poetries and poems that relate either formally or historically to information saturation—demonstrate an extraordinary range of innovative responses to changing technological conditions.”
  • Today in the shifting sands of interlingual communication: German phrases have begun to yield to their English equivalents in interesting, not to say insidious, ways. “Germans are noticing that English is changing their fixed phrases, and even grammar. In English, something ‘makes sense.’ For Germans, though, ‘es hat Sinn’ (it has sense) or ‘es ist sinvoll’ (it’s sensible). The German is actually more logical. How, as in English, is something sensible actually making sense? The question is unanswerable; language is weird, and idioms especially. But nonetheless, many Germans are starting to say es macht Sinn, a loan-translation straight from English. Germans are proud of being thoughtful and logical; the idea that making sense is something they would have to borrow from the English might give a traditionalist the shivers.”
  • New York has a long, sad history of demolishing architectural wonders: the original Penn Station, the Roxy Theatre, St. John’s Church, the City Hall Post Office. The establishment, in 1965, of the Landmarks Preservation Commission did something to stop the destruction, but it was late in coming—a new exhibition at the Museum of the City of New York, “Saving Place: 50 Years of New York City Landmarks,” reminds of all that’s been lost.

Rubbernecking

July 16, 2015 | by

Photo: Max A. Khlopov

In the moment, it was hard even for those of us steps away to know what had happened. A bicycle, a school bus, an improbably loud collision, a figure thrown clear, screeching brakes. Then we were all running and calling 911 at once, as if this one moment justified telephones. We actually put our hands over our mouths in horror; we actually said, “Oh my God!” although I don’t know what we would have done if we had never seen a movie or read a book or heard language. Read More »

Spellbound

June 26, 2015 | by

In memory of James Salter, who died last week, the Daily is republishing a series of essays from 2011, when Salter received The Paris Review’s Hadada Prize. In today’s piece, Jhumpa Lahiri writes about Light Years.

To learn more about Salter, read his 1993 Art of Fiction interview or one of his stories from the magazine: “Sundays” (1966), “Am Strande von Tanger” (1968), “Via Negativa” (1972), and “Bangkok” (2003) are available in full online.

For over half my life, I have returned repeatedly to Light Years. It was the first of James Salter’s books I discovered; it has since led me to all his others. Light Years is the one I know best. The first copy was borrowed. It belonged to my college roommate and was among the handful of books she’d brought with her from home, having nothing to do with our classes. It was a beautiful paperback published by North Point Press: yellow border, rough edges, thickly woven pages, a Bonnard painting on the cover. It was 1985. The book was ten years old; I was eighteen. I was new to New York, a freshman at Barnard College. I was unsophisticated, unmoored, bewildered by college and by the city. Reading the novel was like opening a window for the first time in spring, after a long winter has passed. Something worn out was set aside, something invigorating ushered in. Read More »

True Lies

June 24, 2015 | by

duane_hanson_tourists_2

Duane Hanson, Tourists II, 1988, fiberglass and mixed media, with accessories. Image via Saatchi Gallery

On those occasions when I’ve taught, I’ve been struck by something: my students don’t seem to lie about what they’ve read. If you mention a book, and they haven’t read it—or even heard of it—they’ll admit to it without embarrassment, or even self-consciousness. “Can you repeat the title?” they might ask, or, even, “That sounds really interesting!” Refreshing and laudable though this may be, I initially found it disorienting: I seem to remember that my teen and college years involved a lot of phantom reading.

Of course, it’s very possible that my sample is simply less pretentious and more self-confident than I was; those odds are good. But the total absence of fronting, of nodding knowingly, of glancing around furtively to gauge others’ reactions—this seems like an important micro-generational sea change. I had considered pretension an endearing, and enduring, trait of youth—certainly I knew plenty of other kids who went in for this sort of lying. Are people now just more open about who they are? Or does having read a lot not even signify much—is it not even worth lying about? Read More »