Posts Tagged ‘religion’
May 1, 2015 | by The Paris Review
The artist Jim Shaw began collecting printed media when he was still a teenager, and his extensive archive, which serves as a primary source of inspiration for his paintings, was recently published as The Hidden World. The small book is made to resemble a bible: the edges of the pages are stained red, and the black cover bears only the gold-embossed title. The roughly five hundred images are presented without captions or commentary and were originally produced for pedagogical religious purposes: Freemason, fundamentalist Christian, Mormon, Rosicrucianism, Jehovah’s Witness, Opus Dei, Branch Davidian, and much more. “The Hidden World” was shown as an exhibition a few years ago, but in book form, the same images don’t have the feel of artworks. If it’s a book, you can read it—whether the pages are filled with words or pictures. The unbridged sequences between various brands of faith create a strange narrative: from, say, Left Behind pop culture to beatific Christendom, homemade cultism to UFO-related arcana. A Bill Mauldin cartoon featuring the grim reaper at work sits across the page from a book cover that reads “Good News to Make You Happy.” It’s a creepy book, especially if you aren’t a member of any of these clubs, but it also testifies to how deeply people want to believe. —Nicole Rudick
I was lucky enough to attend the New York premiere of Albert Maysles’s last documentary, Iris. As one might expect, the film offers no shortage of celebration for the buoyant and idiosyncratic style of Iris Apfel; well into her nineties, she’s still very much a commanding force in the world of fashion. But what interested me more than Iris’s style were the glimpses into the relationship between the “Rare Bird of Fashion” and Maysles himself, whose presence, more often than not, manifests only as a voice from behind his camera. To me, the film was an endearing look at two aging artists brought together by the longevity of their art—and, more largely, a tribute to their indefatigable grace. —Stephen Andrew Hiltner
From a distance, I’d always cast a cool eye on James Merrill’s epic poem The Changing Light at Sandover—his famous experiments with Ouija boards struck me as superstitious gimmickry, a rich boy’s attempt to swath himself in the aura of Yeatsian occultism. Well, file that under “moronic snap judgment.” Langdon Hammer’s new biography, James Merrill: Life and Art, has shown me the light. Merrill, who led a truly singular life, came to the Ouija board not for some self-serious dalliance with the afterworld but to buttress his playful, skeptical, fecund approach to poetics; as Hammer writes, he “renewed poetry’s ancient task of soliciting speech from the gods. He activated a source of inspiration existing in language itself.” And I hadn’t known that the poet and his partner, David Jackson, used the board in 1955 to commune with Wallace Stevens, who had just died and who expanded their sexual vocabulary from a higher plane: “‘Do you not know the lovely prologue kissing of nostrils, tongue in nostril and on rims?’ He described scenes of sex at court with Ethiopian slaves, dogs, oils, multiple positions and partners, and a tiger licking sweets from the genitals of the orgiasts.” —Dan Piepenbring
Stefan Zweig is one of those writers who mastered the art of memory—reading his short stories on prewar Vienna feels like walking into a sepia photograph. “Mendel the Bibliophile” definitely has that effect. The misfit book peddler Jakob Mendel, endowed with an encyclopedic memory, is typical of the vanished Vienna Zweig is always mourning in his work: a breeding ground for intellectuals where old books are cherished like secular relics, a comfortable, stimulating cocoon, doomed to splinter during the war. The tenderness of its nostalgia makes “Mendel” a gem. —Charlotte Groult
April 15, 2015 | by Ben Mauk
At Masopust, the Czech festival for spring.
In February, I took the night bus to Prague for Masopust, the old spring festival—abandoned under Communism—that has made a steady resurgence in the Czech Republic in recent years. The bus pulled into a neighborhood adjacent to the Vltava, north of Old Town, late on a Thursday evening. According to centuries-old tradition, Czech farmers would have slaughtered pigs earlier in the day to make blood sausages, headcheese, and other treyf dishes for the coming feasts. At the bus station, though, there was only a Burger King, a McDonald’s, and, beyond them, the famous Prague spires. Pill-shaped tramcars rumbled along the quiet streets, their interiors as bright as roadside diners.
Saturday morning, I boarded a local bus bound for Únětice, a village about five miles outside the city. With its muddy streets and modest Brueghelian cottages clustered alongside a wide, frozen lake, Únětice presents a fairy tale, or at least preindustrial, vision of Central Bohemia. It was bright and cold, the streets still empty save a few Lycra-clad joggers puffing out steam—Brueghel’s rotund peasants, slimmed down for the new millennium. Cracked and faded village walls suggested an attentively maintained desuetude, and the local tavern was selling strong black beer brewed locally for the occasion. Inside the tavern, I found the tables full of locals eating little open-faced sandwiches called chlebíčky and waiting for the festival to start. Read More »
February 5, 2015 | by Dan Piepenbring
A master class in hailing Satan.
“The odor from those incense burners is unbearable … What do they burn that smells like that?”
“Asphalt from the street, leaves of henbane, datura, dried nightshade, and myrrh. These are perfumes delightful to Satan, our master.”
When J. K. Huysmans published Là-Bas (Down There) in 1891, it caused an immediate scandal in France. Huysmans serialized the novel in L’Écho de Paris, a newspaper; readers wrote in early and often to express their revulsion, threatening to cancel their subscriptions if the serialization was not halted posthaste. Not long afterward, when the book itself came out, it was banned from sale at railway kiosks, thus ensuring that it loomed all the larger in the public imagination. Controversy followed the book abroad, too—no one bothered to attempt an English translation for more than thirty years, and even then, the U.S. Society for the Suppression of Vice ruled that it was simply too immoral to see the light of day.
The outrage stemmed from the book’s frank depiction of Satanism—it culminates in a Black Mass, vividly described. Its protagonist, a novelist named Durtal, has pursued his interest in the occult to its logical conclusion, and he’s startled to learn that a thriving underworld persists in contemporary Paris. Huysmans conducted extensive research for the novel, basically embedding himself among a group of Satanists; he was disenchanted with ordinary life, and he wanted literature to present a thrilling alternative to quotidian reality. But he went too far. He grew so distressed by the darkness and evil in Là-Bas—and, perhaps, in his own soul; the novel’s subtitle is “A Journey into the Self”—that he came to regard it as a black book; he wrote a white book, En Route, to cancel its negative energy. (It’s sort of the same way that Prince, a century later, recorded Lovesexy to exorcize the demons of The Black Album.) Later in life, Huysmans converted to Catholicism. Read More »
January 16, 2015 | by Dan Piepenbring
- Here’s a self-effacing diary entry from March 1851 in which Tolstoy chronicles his flaws, hour by hour—part of a larger project in which he evaluates his own ethics. How many of these peccadilloes have you committed today? “Koloshin (Sergei) came to drink vodka, I did not escort him out (cowardice). At Ozerov’s argued about nothing (habit of arguing) and did not talk about what I should have talked about (cowardice). Did not go to Beklemishev’s (weakness of energy). During gymnastics did not walk the rope (cowardice), and did not do one thing because it hurt (sissiness).—At Gorchakov’s lied (lying). Went to the Novotroitsk tavern (lack of fierté). At home did not study English (insufficient firmness).”
- Atticus Lish’s Preparation for the Next Life has become an unlikely hit for its publisher, Tyrant Books—but success can come with its own problems. “When the Times review appeared, Ms. Urban [Lish’s agent] asked Mr. DiTrapano [his publisher] how many books were in print. ‘He said 3,500,’ Ms. Urban recalled. ‘I wanted to kill myself.’ ”
- Art critics—prepare to give notice by the dozens. Now there’s Novice Art Blogger, an algorithm that reviews art and is not altogether terrible at it. “The bot is simply articulating what it interprets; there is something very noble about that, that it is not passing judgment.”
- Is science fiction our new religion? “We gather in our millions in the darkened cathedrals of multiplex cinemas to silently venerate our superhero gods. All religions have their holy stories, and the immense respect given to SF novels like 1984 and I, Robot by their fans is very close to an act of faith … Let’s not think about L Ron Hubbard.”
- Paperbacks give publishers a second chance to find an eye-catching cover design, but the results are often confounding. “After spending so much time, effort and money on getting the dust jacket just right, most publishers go back to the drawing board to design the paperback version. That always seems to me like a waste of hard-won brand awareness, but I’m told most books don’t sell well enough to establish any brand awareness.”
January 12, 2015 | by Dan Piepenbring
“I like big novels,” Robert Stone said in his 1985 Art of Fiction interview. “I really admire the grand slam.” Stone died last weekend in Florida, at seventy-seven. He leaves behind more than a few grand slams—broad, despairing, powerful books full of searchers, outsiders, and misfits. His work exudes what Jessica Hagedorn calls “exquisite paranoia and apocalyptic dread.”
Of course, descriptions like that can make his novels sound too potent—and one of the surprising things about Stone, it must be said, is how little he’s read these days. I hope that will change. As M. H. Miller wrote of him in 2013,
He’s a best-selling author whose work has been heaped with critical praise, but because of the long interims between books, he is more heard of than read by a certain generation of readers. Updike had Rabbit, Roth had Zuckerman, Norman Mailer had Gary Gilmore, even Joan Didion, whose novels are the least interesting thing about her, had Maria Wyeth. Among Mr. Stone’s books there is no clear standout, no obvious introduction. His work is best taken in tandem, like one long narrative where you age with the characters.
He’s right: among readers my age, Stone’s work has had that enviable air of mystery to it. He was always that major writer lurking in the distance. His books didn’t seem approachable, not because they were long or “difficult” but because, as the New York Times put it, they “resonate with philosophical concerns, the thin divides between life and death, good and evil, God and godlessness.” These were tomes about war and God and postwar tumult, and, uh, we definitely wanted to get to them, yes, but—maybe later? Read More »
December 30, 2014 | by Dan Visel
We’re out until January 5, but we’re re-posting some of our favorite pieces from 2014 while we’re away. We hope you enjoy—and have a happy New Year!
A forgotten Midwestern religious sect and the strange novel it inspired.
The most confusing thing about the rural Midwest is the importance placed on being normal. Perhaps this comes from demographic homogeneity: there’s a comforting stability in being able to drive a hundred miles in almost any direction and find a landscape almost identical to the one from which you set out.
The Midwest is construed as a place where nothing happens—that being, it should be emphasized, a good thing. Native Americans once lived here, of course; but there’s no longer any sign of them aside from some low mounds and their continuing near-universal use as school mascots. When I grew up here, no one wondered why they’d left. Probably it was more exciting somewhere else. Who could blame them? It’s a fine place to leave.
But on returning, as I did recently, the effect is disorienting: this is a place where everyone is cheerfully convinced of the rationality of their insanity. I was never immune to this. In school, everyone was perplexed by race problems. We weren’t racist. How could we be when there weren’t any black people? We ignored that in Rockford, Illinois, ten miles away, desegregation lawsuits were impossibly still grinding through the court system. Likewise, we firmly believed that gay people weren’t something we had; we learned we’d had a Jewish family in our town only after they’d safely escaped. This seems ludicrous to me now, and things have undoubtedly changed since the turn of the century. With the arrival of the Internet and cable TV, the boast that newscasters were carefully trained to speak like us—because we, among all Americans, had no accents—isn’t quite as impressive.
In 1988, when I was ten, my parents moved to a five-acre farm between the rust-belt city of Rockford and the village of Winnebago. Not being from the area, they were naturally curious about the history, and one of them found a Works Progress Administration history of Illinois in the library. In that book, we discovered that the country road we lived on had once not been so somnolent. A block north of us, a large complex of buildings painted red bore the name Weldon Farm, but once it had been called Heaven. In the 1880s it had been the center of an obscure religious sect—still lacking a Wikipedia entry of their own—called the Beekmanites. A woman named Dorinda Beekman had declared herself to be Jesus, as one did in those days; she died after promising to rise from the dead in three days. Her considerable followers were disappointed until one of them, a red-headed man named George Jacob Schweinfurth, neatly solved the problem by explaining that her spirit had moved into his body. Many agreed; he and his followers, the Church Triumphant, moved into Heaven and lived communally, where he’d attracted attention as far away as the New York Times.
A block south of my parents’ place, the road dead-ended in front of a run-down house. A “bad” family lived there, and their children occasionally went to school with me. We would have called them poor white trash had we not been afraid of being beaten up. Their house, ramshackle as it appeared to be, had a history as well: it had once been Hell. Schweinfurth had lived in luxury in Heaven, arrayed with young women called Angels. Their husbands, had they any, and members of the group who’d fallen out of favor, were sent to Hell, where the work needed to keep the sect fed was done. Read More >>