The Daily

Posts Tagged ‘sheep’

Malthusian Flotsam and Unspeakable Jetsam, and Other News

March 28, 2016 | by

Photo: Kirk Crawford.

  • Jim Harrison has died at seventy-eight. “You don’t write—an artist doesn’t create, or very rarely creates—good art in support of different causes,” he told The Paris Review in 1988. “And critics have an enormous difficulty separating the attitudes of your characters from your attitudes as a writer. You have to explain to them: I am not all the men in my novels. How could I be? I’m little Jimmy back here on the farm with my wife and two daughters, and, at one time, three female horses, three female cats, and three female dogs, and I’m quite a nice person.”
  • Fact: you, too, can enjoy Aldous Huxley waxing lyrical about a controversial Los Angeles sewage treatment plant. “One day in 1939, Aldous Huxley, Thomas Mann, and two women walk along the shore south of Los Angeles. The weather is beautiful, the beach is empty, and Shakespeare is debated. Then the group realizes that something’s funny about the beach. As Huxley put it in the essay, ‘Like Hyperion to a Satyr,’ they are suddenly walking among ‘ten million emblems and mementos of Modern Love … Malthusian flotsam and unspeakable jetsam.’ The four had found themselves among a sea of used condoms that ejected by Los Angeles’s Hyperion sewage treatment plant. Huxley returned to those shores a few years later, after LA upgraded the plant in 1950. He was overjoyed with what he saw, and what he thought the vista suggested about the city: ‘Another torrent, this time about 99.95 percent pure, rushes down through the submarine outfall and mingles, a mile offshore, with the Pacific. The problem of keeping a great city clean without polluting a river or fouling the beaches, and without robbing the soil of its fertility, has been triumphantly solved.’ ”
  • In America, Joseph Brodsky is often held up as “the poster boy for Soviet persecution,” as Cynthia Haven writes—but a new biography is trying to change that perception: “Ellendea Proffer Teasley, in her short new memoir, Brodskij sredi nas (Brodsky Among Us), offers a different view of the poet. It’s an iconoclastic and spellbinding portrait, some of it revelatory. Teasley’s Brodsky is both darker and brighter than the one we thought we knew, and he is the stronger for it … According to the leading critic Anna Narinskaya, writing in the newspaper Kommersant, Teasley’s memoir had been written ‘without teary-eyed ecstasy or vicious vengefulness, without petty settling of scores with the deceased—or the living—and at the same time demonstrating complete comprehension of the caliber and extreme singularity of her “hero” ’ … Even so, the book has yet to find a publisher in English, the language in which it was written.”
  • Do you want Saul Bellow’s desk? He sat there, wrote some books. And it’s nice—a mahogany roll-top job dating to the Victorian era. A steal at ten thousand bucks. Please buy it. Please, please buy it. No one else is buying it, Bellow’s son told the Wall Street Journal: “I guess space is expensive on the Upper West Side. Nobody’s got room for a giant piece of furniture … I thought, well, this will provoke discussion. But it really didn’t … I’m moving to a smaller place and the desk just isn’t fitting into the plan.”
  • Problem: a staging at the Park Avenue Armory of Louis Andriessen’s 1988 avant-garde opera, De Materie, calls for one hundred sheep. Solution: get the fucking sheep. “Simply getting hold of so many stage-ready sheep was an exceptionally difficult bit of opera casting … The bane of international opera stars is a visa system that can be difficult to navigate. For opera sheep, it is getting the right veterinary certificates, exhibiting permits, humane handling paperwork and the like … Then there was the question of where to house them. The ovine troupers could not sleep at the Armory; could not commute from Pennsylvania; and would not have been welcome at the hotels that usually cater to visiting sopranos. So accommodations were found at the Bronx Equestrian Center, which has stables in Pelham Bay Park. The New York City Department of Health and Mental Hygiene, which has jurisdiction over animals in performances, issued a permit to allow the project to go ahead … Then the Armory had to be readied. A backstage paddock was built and soundproofed … ”

Cordelia Bleats, and Other News

July 4, 2014 | by

king lear sheep

A production photo from King Lear with Sheep, via Modern Farmer.

  • Edmund Wilson on the Fourth of July circa 1925: “The last random pops and shots of the Fourth—the effortful spluttering and chugging up a hill—the last wild ride with hilarious yells on its way back to New York. Then the long even silence of summer that stretches darkness from sun to sun.”
  • And here’s a handbook for firework design from 1785. (Note: The Paris Review does not endorse the unsupervised construction or detonation of homemade pyrotechnical devices from any era, past or present—unless you’re reasonably sure you know what you’re doing, in which case, have at it.)
  • Forget King Lear with people—that’s old-fashioned. What you want is King Lear with Sheep. “The actors are actually incapable of acting or even recognizing that something is expected of them.” (Because they’re sheep.)
  • “Here’s the problem for someone trying to give Pride and Prejudice a contemporary twist … Jane and Lizzy Bennet are twenty-two and twenty years old, respectively. This means that, in the novel’s world, the two are pretty much teetering on the edge of spinsterhood. The whole twenty-three-year-old-spinster idea will not resonate, of course, with contemporary readers.”
  • Is Moby-Dick something of a roman à clef?


Kansas in Drag, and Other News

April 11, 2014 | by


A photograph from Kansas City recently discovered by Robert Heishman.