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Posts Tagged ‘Ted Hughes’

Staff Picks: Jaguars, Jim Beam, Japanese Divorce

August 26, 2016 | by

From the cover of Gringos.

Fifty-three years ago, James Baldwin published The Fire Next Time, on the experience of being black in America. The title comes from a slave song: “God gave Noah the rainbow sign / No more water but fire next time.” This month, Jesmyn Ward published a compilation of essays called The Fire This Time. She wanted a book, as she writes in a brilliant introduction, “that would reckon with the fire of rage and despair and fierce, protective love currently sweeping through the streets and campuses of America … A book that a girl in rural Missouri could pick up at her local library and, while reading, encounter a voice that hushed her fears.” Ward has packed a multitude into a modest volume and fulfills, I think, her desire to provide a full and rich accounting of black life, one that is infrequently given voice. The lead piece is a sharply evocative prose poem by Kima Jones about a trip home to North Carolina for a funeral and time in the woods with her cousins, “with red cups, Black and Milds, Jim Beam, a blue lighter plucked from the card table.” Another favorite is Garnette Cadogan’s essay on walking, as a boy in Kingston and as a young man in the United States. The dissonance between the two is startling but not surprising: in the former, “I’d get lost in Mittyesque moments, my young mind imagining alternate futures,” and in the other, walking is “a pantomine undertaken to avoid the choreography of criminality.” —Nicole Rudick

I often go back to Gringos, the 1991 novel by Charles Portis, when I find myself between books. Portis is a fount of comedy; his books brim with deliciously absurd characters. Gringos features a clique of eccentric expats idling in the Yucatán: there’s Rudy and Louise Kurle, a blond duo, in Mexico recording evidence of aliens; Doc Flandin, an aged historian and anthropologist whose life work comprises a comprehensive account of Mayan culture; Refugio Osorio, a native of Mérida who deals scraps from his land in the jungle (I’m fond of his pup, “Ramos, son of the late Chino, bravest dog in all Mexico”). Their comedy comes from the wry observations of Gringos’s hero and narrator Jimmy Burns, a fortysomething deliveryman and former hustler of pre-Columbian artifacts. Jimmy lives at the marvelously shabby Posada Fausto hotel in Mérida, taking hauling jobs to pay his rent. His life there “rocks along from day to day”—he drinks in bars and heads to the zoo “to look over the fine new jaguar”—until he finds himself caught up in violent hippie rituals at ancient ruins and adventure in the Yucatán. —Caitlin Love Read More »

A Jolly Companion

August 17, 2016 | by

Hans Hoffmann, A Hedgehog, sixteenth century.

Ted Hughes was born on this day in 1930. In a 1950 letter to Edna Wholey, he dilated on his love of hedgehogs. Read more of his correspondence in Letters of Ted Hughes, edited by Christopher Reid. Read More »

We’ve Got Spines for Everyone, and Other News

January 22, 2016 | by

Collect ’em all. (All 215 of them.)

  • AIGA’s Eye on Design blog has a thoughtful, thorough history of The Paris Review’s art and design, with stories from our former editor Maxine Groffsky and our art editor, Charlotte Strick. “The masthead has shape shifted from serif to sans and back again; its size has gone from pamphlet, to book, to magazine, to somewhere in-between … ‘Mining The Paris Review’s rich archives revealed that the primary role of design in those mid-century issues was to support the publication’s beautifully curated literature and artwork,’ says art editor Strick. She was determined to make the current publication work in the same way, while simultaneously reminding the reader of The Paris Review’s continual evolution.”
  • Scholars have long endeavored to place Sarah Palin on the continuum of American poets—but where does she belong? Her speech endorsing Trump this week suggests that she’s the next Walt Whitman, as Jeet Heer writes: “There is a strong consensus among Palin scholars as to where she fits into the poetic pantheon: She is heir to the tradition of free-flowing democratic verse that runs from Walt Whitman to Carl Sandburg to Allen Ginsberg … Now that Palin is back in the spotlight, it’s hard not to hear her voice in her great precursor Whitman. Palin’s alliterative apostrophe to the common folk of Iowa (“You farm families! And teachers! And teamsters! And cops, and cooks!”) calls to mind the egalitarian inclusiveness of Whitman’s many lists … As a right-wing populist, Palin shifts the political valence but keeps the allegiance to the ordinary. As much as any Whitmanesque poet, she claims to be the voice of those who are never listened to.”
  • In which Janet Malcolm takes Ted Hughes’s unauthorized biographer, Jonathan Bate, to task: “Beyond tastelessness there is Bate’s cluelessness about what you can and cannot do if you want to be regarded as an honest and serious writer … The question of what [Hughes] was ‘really’ like remains unanswered, as it should. If anything is our own business, it is our pathetic native self. Biographers, in their pride, think otherwise. Readers, in their curiosity, encourage them in their impertinence. Surely Hughes’s family, if not his shade, deserve better than Bate’s squalid findings about Hughes’s sex life and priggish theories about his psychology.”
  • Fact: Robert Pinsky once wrote a text-adventure video game called Mindwheel. “For a brief time in the mid-nineteen-eighties major literary publishers, including Simon & Schuster and Random House, opened software divisions, and major bookstores stocked works of ‘interactive fiction,’ ” writes James Reith; Pinsky’s Mindwheel is “a playful mishmash of sci-fi tropes, Pop surrealism, and allusions both high and low: the work of a poet having fun, but still the work of a poet. After all, Pinsky pointed out to me, ‘allusion’ and ‘ludicrous’ both come from the Latin ludere, meaning ‘to play.’ ”
  • While we’re here poring over our “books” and our “literature,” there are people out there with their eyes on the real prize: an elevator to the stars. “As outlandish as it seems, a space elevator would make getting to space accessible, affordable and potentially very lucrative. But why it hasn’t happened yet basically boils down to materials—even the best of today’s super-strong and super-lightweight materials just still aren’t good enough to support a space elevator … ‘The problem with the entire space elevator effort is that there is no real support for it … This is what a project looks like when it’s done as a hobby, by hundreds of people spread out all over the world. There will be no substantial progress until there is real support and professional coordinating management for the effort.’ ”

The Pour of Melted Chocolate, and Other News

January 15, 2016 | by

Hebden Bridge, 1970.

  • Ben Lerner remembers C. D. Wright: “She was part of a line of mavericks and contrarians who struggled to keep the language particular in times of ever-encroaching standardization. I think of the messy genius of James Agee and Mary Austin as two possible antecedents for her genre-bending, lyrically charged, often outraged and outrageous American English … She had no illusions about what poetry could do in the face of ‘the factory model, the corporate model, the penitentiary model, which by my lights are one and the same.’ But she had no patience for disillusion, for those who would surrender their wonder before the world.”
  • Bernard Williams attempted a rare thing for a philosopher: clarity. Exasperated by the discipline’s obscurantism and by Continental philosophy’s aversion to plain speaking, he wrote his books, emphatically, to be read. As Nakul Krishna writes, “The hardest thing in philosophy, Williams wrote in the preface to Morality … was finding the right style, ‘in the deepest sense of style in which to discover the right style is to discover what you are really trying to do’ … Could a piece of philosophical writing combine abstract argument with concrete detail? Could its inevitably schematic descriptions of complex situations ever represent enough of their reality? Could philosophy, in other words, have room in it for a real human voice?”
  • Ted Hughes once wrote of sitting with Sylvia Plath at a pub in Hebden Bridge, West Yorkshire, where he was born: “A gorge of ruined mills and abandoned chapels, / The fouled nest of the Industrial Revolution / That had flown.” What’s in Hebden Bridge today? The remains of an awful flood, as Tom Overton writes. “Up on the moors on Boxing Day last year, the level of rainfall gave normally modest streams a resonant fullness. In ‘Four March Watercolours’, from River, Hughes calls it ‘baroque superabundance’; ‘the pour / Of melted chocolate.’ Turning into something more like the apocalyptic flood at the beginning of Tales from Ovid, it poured into the boutiques and cafes on Hebden’s Market Street, and washed a small bus along with it. The independent bookshop lost its entire stock. The canal and river burst their banks and met in the pub between them, the Stubbing Wharf.”
  • At last, the days of digitized pop-up books are upon us. You can now peruse a translation of Johann Remmelin’s 1613 work Captoptrum Microcosmicum, a medical text with 120 flaps—proof that that pop-up was once the province of adult pedagogy, not children’s entertainment. “Astronomy, geometry, theology and technology have all been the subject of early pop-up books … They were once called mechanical books, for the moving flaps and revolving parts they featured … Mechanical books were almost exclusively used in scholarly works until the 18th century, though that delay may be because few of these early tomes were aimed at children. The first examples of moveable books for children were Paper Doll Books produced beginning in 1810 and William Grimaldi’s lift-the-flap The Toilet.”
  • “How is it that this novel could be sexy, entertaining, experimental, politically radical, and wildly popular all at once? Its success was no sure thing,” Paul Elie writes of One Hundred Years of Solitude. Its creation, to say nothing of its arrival on the international stage, was a complicated affair. Mario Vargas Llosa said, “This was the book that enlarged the Spanish-language reading public to include intellectuals and also ordinary readers because of its clear and transparent style. At the same time, it was a very representative book: Latin America’s civil wars, Latin America’s inequalities, Latin America’s imagination, Latin America’s love of music, its color—all this was in a novel in which realism and fantasy were mixed in a perfect way.’”

Give Those Old Ladies a Break, and Other News

October 29, 2015 | by

Joachim Martin Falbe, Portrait of an Old Lady, ca. 1755.

  • Evil, in fairy tales, often comes in the form of an old woman: the fearsome, embittered crone is a staple of the genre. What will it take for our legends to start treating old biddies with respect—and why did they get a bad rap to begin with? The answer could be psychological (“Children do have a way of splitting the mother figure into ... the evil mother—who’s always making rules and regulations, policing your behavior, getting angry at youand then the benevolent nurturer”) or political (“She’s usually a solitary woman. She’s already marginal. She’s angry at something—at life, or whatever—and she will ‘eat’—that’s the expression—people’s souls, in the sense that she’s going to possess people and then they die a terrible death”). Or maybe we’ve just been reading the stories wrong and failing to see that “old women in fairy tales and folklore practically keep civilization together. They judge, reward, harm and heal; and they’re often the most intriguing characters in the story.”
  • Oh, goody. We might just have, more than fifty years after her death, a new Sylvia Plath sex scandal on our hands: What was she doing the night before she gassed herself? Her biographer Jonathan Bate might know. “Andrew Sinclair, a friend of Plath and [Ted] Hughes, pointed [Bate] to a poem of Hughes’s that made reference to a final lover of Plath’s, and that a book editor in New York, Frances Lindley, met someone at a book party who told her he’d seen Plath’s last letter, which made reference to a call to said lover. Additionally, Plath’s downstairs neighbor attested that she asked for a postage stamp that last night. Next to the phone box on St. George’s Terrace, there’s also a mailbox. Bate says he’s read reports of a collector in possession of Plath’s last letter, but he doesn’t name the collector. He doesn’t name the possible final lover either.” It might be “the critic Al Alvarez, who is still living but has always denied having an affair with Plath (‘Sylvia wasn’t my style—she wasn’t my physical type,’ he told Janet Malcolm) and has expressed guilt about the whole thing.”
  • David Lynch disdains words, and that’s okay as long as you’re not having a conversation with him. Better, maybe, just to listen: “In Lynch’s own speech and in the speech patterns of his films, the impression is of language used less for meaning than for sound. To savor the thingness of words is to move away from their imprisoning nature. Lynch has said, more than once, that he had to ‘learn to talk,’ and his very particular, somewhat limited vocabulary seems in many ways an outgrowth of his aesthetic … Lynch’s aphasia is born of a protectiveness that verges on superstition. Words for him are not just reductive; they are anathema to his view of art as fundamentally enigmatic.”
  • Today in the case for misandry: men are taking photos of beautiful landscapes and allowing their exposed scrotums to creep into the frame. It’s called nutscaping. And no matter how its creator attempts to defend it—it takes “courage, vulnerability and skill to properly execute,” he says, and it’s intended to gratify “a primal urge to connect on a deeper level with Mother Nature”—it’s further proof that men should probably be wiped off the face of the Earth.
  • There’s nothing like a magic trick to restore one’s faith in good old battle-tested irrationality: “Believing in magic is generally considered a callow faith, clung to by foolish young’uns who have a long distance relationship with reality … Carl Jung opted not to explain magic away. Instead, he wrote in 1938, there’s psychological worth in how magic and religion can allow us to function effectively in society: ‘What is usually and generally called “religion” is … a substitute. … The substitution has the obvious purpose of replacing immediate experience by a choice of suitable symbols invested in a solidly organized dogma and ritual.” Magic, in short, allows us to put reality through a strainer … It is the experience itself we’re imbibing, and magic can help with the swallow … Indeed, as Harry Houdini said, ‘Magic is the sole science not accepted by scientists, because they can’t understand it.’ ” (Cue Pilot’s 1975 hit, “Magic”…)

The Last Word

July 16, 2015 | by

The conundrum of writing about the dead.

plathgravejenniferboyer

Photo: Jennifer Boyer

Recently, I stood in the woods near Auschwitz in Oswiecim, Poland—the same woods where Jews waited to enter the gas chambers. It was a picnic-worthy spring day. Sunlight filtered through the pine trees. Unable to imagine the horror that had happened there, my thoughts turned instead to a picture I had seen the day before. It was captioned “Sniatyn—tormenting Jews before their execution,” and it shows five naked Jews—four men and a boy—and a handful of Nazis in uniform and civilian clothing holding sticks, apparently gathering before the execution. One of the Jewish men stands looking at the ground with his hands folded in front of him, the Jewish boy is still wearing his hat.

Whenever I see this photograph, I always have the same thought: After all that they have suffered, why should they also suffer the indignity of our gaze? I would not want to be seen in this moment of humiliation. This thought is immediately replaced by another: they are not suffering our gaze. They are dead, they are not suffering anything. And I am looking at them precisely because they were humiliated—without this humiliation, they would have slipped from seen to unseen, as almost all the dead do. They have been chosen for contemporary viewing because this moment tells a larger story that eclipses any squeamishness we have about displaying them in such a scene of degradation. Read More »