Posts Tagged ‘PBS’
August 5, 2016 | by Dan Piepenbring
- You might, if you’re lucky, retire someday, and it’s never too early to start thinking about what you’ll do with all that free time. You may think you’ve got it all figured out—I’ll just build a wacky Disneyland spin-off in my backyard, you say to yourself. But that’s been done: “After retiring from a thirty-year career in auto manufacturing in the late eighties, [Dmytro] Szylak began work on his folk-art installation, tenuously mounted to the roof of the garage behind his Hamtramck duplex on Klinger Street and that of the adjoining property … Hamtramck Disneyland looms like a Cubist carnival. The superstructure is mostly wood, strung with lights and painted in the bright Ukrainian national colors of yellow and blue, as well as red, purple, and green. This forms the base for an avalanche of found objects—Szylak was seemingly obsessed with propellers and fans, American idols like Elvis, and particularly the type of blow-mold horses employed in bouncy toys for toddlers. An entire herd of them runs wild across the installation, and two of them rear up inside the arch constructed over the front gate—one of the only indicators on the street side of what lies behind the house.”
- Reviewing Colson Whitehead’s new novel, Brit Bennett looks at the difficulties inherent in telling stories about slavery: “The problem with the slave narrative is its predictability: A person is born in bondage to a cruel master; he or she observes a first whipping, struggles to obtain literacy, attempts to flee, fails, and later successfully escapes to the North. If the purpose of autobiography is to uniquely render a unique life, then slave narratives often feel formulaic, the narrators indistinct … Unlike white autobiographers, black authors could not expect that readers would approach their works on good faith—they anticipated a skeptical, if not hostile, audience. To make their stories seem authentic, ex-slave narrators came to rely on certain established patterns. ‘This was perhaps the greatest challenge to the imagination of the Afro-American autobiographer,’ Andrews writes. ‘The reception of his narrative as truth depended on the degree to which his artfulness could hide his art.’ ”
- There’s one slave narrative I’m not sure anyone predicted: Ghostwriter, the PBS children’s show from the nineties, where a bunch of Brooklyn kids solve mysteries by following a colorful, zippy phantasm-blob thing that draws their attention to the letters and words around them. Per Nick Ripatrazone, “After the series ended, the writer Kermit Frazier revealed that Ghostwriter was a runaway slave ‘killed by slave catchers and their dogs as he was teaching other runaway slaves how to read in the woods.’ Though viewers at the time wouldn’t have known this backstory, these tragic origins are also somehow fitting: During both his life and his existence as a spirit, Ghostwriter finds truth and freedom in words … Ghostwriter often focused on the humbling idea that literature—an endeavor sometimes seen as elitist or inaccessible—is for everyone and can bring people closer together.”
- Jill Soloway, of Transparent fame, is adapting Chris Kraus’s I Love Dick for TV—as Jason McBride writes, “she’ll be turning one of the most compelling cult novels of the last twenty years into a television show with the potential to be as groundbreaking in its examination of gender politics as her first … [Soloway] identified intensely with Kraus’s decision to use her own name, biography, and, as Soloway put it, her ‘horribleness.’ It helped her, she says, to reframe the shame she herself once felt about her TV writing: ‘I don’t know how to write about anything other than myself. I can’t write about dragons, I don’t care about crime, I don’t want to write a hospital show. I only want to write about somewhat unlikable Jewish women having really inappropriate ideas about life and sex.’ ”
- In which Edmund White comes to a sound conclusion about Nabokov: “I have recently reread Pale Fire (1962) which is, I realize only now, the great gay comic novel, an equally funny and sometimes tender portrait of a homosexual madman, Charles Kinbote … What is perhaps the funniest scene involves a putative assassin, Gradus, and a lad named Gordon. Since this is a moment completely imagined by Kinbote (and, by any standard, not observed), the king’s imagination runs wild. He ‘dresses’ the comely Gordon in one clichéd gay outfit after another. At first the tanned fifteen-year-old (‘dyed a nectarine hue by the sun’) is in a ‘leopard-spotted loincloth.’ Then he is ‘wreathed about the loins with ivy.’ A second later he is fellating “a pipe of spring water” and wiping his hands ‘on his black bathing trunks.’ ”
December 16, 2015 | by Dan Piepenbring
- In November 1994, George Plimpton interviewed Garrison Keillor at 92Y as part of a collaboration with The Paris Review. You can listen to a recording of their interview here—and now the PBS series Blank on Blank has animated part of it. “I think that you’re only obliged to be a humorist from maybe the age of eighteen until you turn thirty,” Keillor tells Plimpton. “Past the age of thirty, I don’t think there’s any obligation to be clever at all. After that, you, I think, are supposed to settle down, be a good person, raise your children, and be good to your friends, which you may not have been when you were very clever, and try to atone for your cleverness. Humor has to surprise us. Otherwise it isn’t funny, and, it’s a death knell for a writer to be labeled humorous, because then, of course, it’s not a surprise anymore, it’s what expected of him. And when you come to expect humor of people, you will never get it.”
- Last month, Oxford Dictionaries named the “tears of joy” emoji its Word of the Year; now Merriam-Webster has followed suit, choosing a suffix, -ism, as its Word of the Year. Now, before you get all exercised and sit down to write an indignant op-ed about all these nonword words the dictionaries insist on force-feeding us, be advised that “Merriam-Webster notes that the version of -ism without the hyphen actually is a word, specifically a noun meaning ‘a distinctive doctrine, cause, or theory’ or ‘an oppressive and especially discriminatory attitude or belief’ … Last week, Dictionary.com bravely bucked this year’s trend by naming a word as their word of the year. They selected identity, citing increased conversation this year over gender and sexual identity, in large part because of former Olympic athlete Caitlyn Jenner’s decision to come out as a transgender woman.”
- Fact: Frank Lloyd Wright designed a gas station. It was but one element in a vast, unrealized utopia he’d planned to erect in Buffalo, New York, which remains, alas, a largely dystopian place. But in 1958, when Wright was ninety, one part of his idyllic vision found its way to Cloquet, Minnesota, and an historic gas station was born: “Wright had designed a house for a resident of Cloquet named R. W. Lindholm, who happened to be in the petroleum business. Wright never gave up on his utopian city, and knowing what his client did for a living, he convinced Lindholm to build a gas station that was similar in design to the Buffalo station … Wright saw the car as a way to personal freedom for Americans, so he gave the drivers of Cloquet what he thought that future needed in a gas station, including an observation deck where the attendants could watch for cars in warmth and comfort.” Forget Fallingwater. This is Tricklinggasoline.
- “I have in fact only once corresponded with anyone … who was as good at writing letters as I am,” Iris Murdoch once told the philosopher Philippa Foot. So this new book of her correspondence must be a veritable tour de force of jocularity and fluent intellect, yes? Well. John Mullan hates to break it to you, but “the brilliant thinker, witty conversationalist and powerfully idiosyncratic novelist are hardly here at all … Some have responded to the publication of these letters by depicting Murdoch as a rather shocking sexual adventuress, but this is not quite right. Really, she seems more interested in writing letters to people she found attractive than in having sex with them.”
- What was the deal with Hawthorne and Melville? The heat that emanated from the hearth of their friendship was … well, hot. Melville once wrote, for example, that Hawthorne “shoots his strong New-England roots into the hot soil of my Southern soul.” But, as Jordan Alexander Stein notes, anyone wishing to prove some erotic intent on either writer’s part has a heavy burden: “Writers of the mid-nineteenth century did not have available to them the same expressive concision as those of us today who might speak glibly of topping and bottoming … Melville wrote of Hawthorne with undeniably sexy language. What proves more elusive are the feelings to which, with any precision, this language can be said to refer … The issue, then, is whether serious scholars writing about famous authors can reasonably deign to take dick jokes as evidence. And if we are indeed willing to take them as evidence, just how do we go about determining what kind of evidence they are?”
June 24, 2015 | by Dan Piepenbring
Like Richard Sharpe Shaver, a midcentury sci-fi writer who believed that an ancient civilization had embossed its complex history into “rock books,” Ken Grimes is convinced that humankind has defined communication too narrowly. A self-styled “visionary artist,” Grimes paints chiefly in acrylic on Masonite boards, and his subject is extraterrestrials: their existence, the deceptions surrounding that existence, and the cosmic synchronicities that reveal their presences. He looks for hidden messages from aliens in astronomy texts. “These are professional writers who have editors and proofreaders,” he told Wired, noting that the mistakes of such writers still tend to follow patterns. “They’re experiencing alien spirituality. It’s right in their face and they can’t even see it.” Grimes is schizophrenic. Read More »
May 23, 2014 | by Dan Piepenbring
Today’s the last day to claim your copy of our twenty-first issue, published in the spring of 1959.
To celebrate American Masters’s Plimpton! Starring George Plimpton as Himself—a documentary about our late, great founder George Plimpton—The Paris Review is giving all new subscribers this remarkable issue, which includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers.
Subscribe now and we’ll send you a copy of your own.
U.S. residents can watch Plimpton! Starring George Plimpton as Himself in its entirety online, courtesy of PBS.
May 20, 2014 | by Dan Piepenbring
To celebrate American Masters’s Plimpton! Starring George Plimpton as Himself—a documentary about our late, great founder George Plimpton—The Paris Review is giving all new subscribers a copy of our twenty-first issue, published in the spring of 1959. This remarkable issue includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers.
Subscribe now and we’ll send you a copy of your own—but hurry, because this offer only lasts through Friday.
U.S. residents can watch Plimpton! Starring George Plimpton as Himself in its entirety online, courtesy of PBS.
May 16, 2014 | by Dan Piepenbring
Tonight at nine, American Masters’s Plimpton! Starring George Plimpton as Himself premieres on PBS. The documentary “does the man justice,” Variety says. The Newsday nails it: “Famed journalist had fun, and so will you.”
For the next week, to celebrate the documentary and our late, great founder, The Paris Review is giving all new subscribers a copy of our twenty-first issue, published in the spring of 1959. This remarkable issue includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers.
Subscribe now and we’ll send you a copy of your own—a piece of The Paris Review’s history. And tune in this evening to catch Plimpton!, which is about, as PBS puts it, “football, literature, magazines, fireworks, hockey, movies, presidents, lawn chairs, geniuses, and the true tall tale that brought them all together.”