The Daily

Posts Tagged ‘Tennessee’

Flannery’s Farm

July 21, 2016 | by

Andalusia and the ache of identity.

Joe McTyre/ Atlanta Constitution, Flannery O’Connor in the driveway at Andalusia, 1962.

Flannery O’Connor in the driveway at Andalusia, 1962. © Joe McTyre/Atlanta Constitution.

You can judge how far outside of Atlanta you are by the gasoline prices. My parents kept calling them out every few minutes as we drove from their house toward Milledgeville to the farm where Flannery O’Connor once lived. Gas that was $2.26 in town became $2.11 just outside the city limits. The weather was less hot than usual, which is to say that while it was still awful and sticky, there was a breeze every now and then. Prices hovered around two dollars as we drove south, and the landscape shifted from tony suburbs to farmland. Soon forests of tall slender pine trees began filling our periphery, and my mother actually gasped when we encountered $1.96 a gallon. At $1.95, we reached Andalusia Farm. Read More »

All Hail Signior Dildo, and Other News

February 13, 2015 | by


The Earl of Rochester

  • Authenticity: Do you have it? Do your favorite writers have it? Has any individual in the history of humankind had it? “What do we mean by authenticity? Since we can hardly ask for documentary accuracy from fiction, what is it exactly we’re looking for? … All Dickens is packed with orphans or people in uncertain relation to family groups, or clubs. It’s impossible to read anything he wrote without feeling that the question of belonging was a major issue for him … Whether or not we like the books and quite regardless of any verisimilitude, it’s clear that the author is writing directly from his personal concerns.”
  • The Earl of Rochester wrote directly from his personal concerns, too. Those concerns included dildos, premature ejaculation, drunkenness, and scatology. He was very authentic.
  • And Camus, who had a few questions of his own about this sort of thing, is perhaps more relevant than ever today, in no small part because of the Arab Spring: “For the many Americans who grew up with ‘The Guest’ and The Stranger, what lies ahead is a literary, political, and cinematic revival of a writer whose work has found new urgency in the embers of the Arab Spring. For readers and writers throughout the world, Camus remains an open book.”
  • While we’re questioning some of the basic tenets of writing—what do writers owe their subjects? “Do we have the right to tell their stories at all? Such complications become even more vivid when we consider them through the lens of privilege: the privilege of the storyteller to control or shape the narrative.”
  • Maybe it’s easiest to circumvent these questions by trusting the state to tell us which stories are okay to tell. They know what they’re doing! That’s why a Tennessee lawmaker is moving to make the Bible his state’s official book. It’s a classic, after all.


Our Globe-trotting Winners

September 9, 2014 | by

Last month’s #ReadEverywhere contest was a great success. (If you need a refresher: we asked readers to submit pictures of themselves reading The Paris Review or The London Review of Books around the world.) Now the time has come to announce the winners. Cue the marching band, please, and have the sommeliers ready their champagne sabers …

THIRD PLACE is a tie! Both Ivan Herrera and Anders Gäddlin will receive third-place prizes. Ivan is pictured with The Paris Review (and an erumpent sparkler) at Tennessee Alabama Fireworks. Anders read The London Review of Books in a “modernist twentieth-century utopian suburb”: Råslätt, Jönköping, Sweden. They’ll get a copy of one of our Writers at Work anthologies and an LRB mug.


Ivan Herrera



Anders Gäddlin

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Those Are Marshmallow Clouds Being Friendly

December 22, 2011 | by

My first shift at the candy store was on the first day of October, my last just before New Year’s, but when I talk about it now, what I say is, “Last Christmas, when I worked at the candy store.”

In the world of candy stores, and this candy store in particular, Christmas is a perpetual condition that just happens to spike at the end of the year. A red-and-green decorating scheme carried throughout the shop—I could not escape it, even when I retreated, as I sometimes did, to the store’s one bathroom, also tinged with red and green, just to shut out the world for a minute or two. On the sales floor, the shelves were heavy with saltwater taffy and boxes of truffles and delightfully analog toys—balsa gliders, pick-up sticks, chunky wooden puzzles. The general effect was that of being buried inside the holiday stocking of a child who’d been very, very good that year—along with the child himself, and a hoard of his less well-mannered friends and their overstressed, oblivious parents.

I took the gig shortly after finding myself laid off from the job I’d had for the last four years as an editor at a music magazine. I felt adrift and thought tending to a candy store, such a bastion of simple pleasures, might anchor me more firmly to the world, and also I thought that money might be a thing I’d might want to have again. But in my vague desperation I had forgotten about humans’ terrific knack for rendering even the most ostensibly pleasant pursuits completely soul crushing, and how that tendency increases as the winter days darken.

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The Day I Met Hillbilly Jim

January 13, 2011 | by

Part four of a five-part story. Read part 1, part 2, and part 3.

A young Josh meets Hillbilly.

Hillbilly Jim lumbers into the studio wearing sunglasses.

I am on time this time. Early, even. Because I’ve been briefed I say, “Hi Mr. Morris. I’m Josh.”

His hand engulfs mine, pumps up and down. He is massive. Six-foot-seven, broad shouldered, and suspiciously orange.

“Howdy,” he says. “Good to meetcha.”

I am meeting Hillbilly Jim. This is real. I have note cards to tell me which questions I’m supposed to ask. They are stacked up in my hand, which is sweating profusely.

Hillbilly Jim has lost his shirt and is now clothed simply in denim overalls. He sits in a folding chair in front of me. There are lights all around, heat slapping us from a hundred directions, illuminating our faces, Hillbilly’s unnaturally tan, mine ghost white beneath all the makeup.


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When I Got Cable

January 10, 2011 | by

Professional wrestler and disc jockey Hillbilly Jim.

A tale of fame told in five parts.

I’m about to become a regional television star—Middle Tennessee and Southern Kentucky. I will sign autographs and receive marriage proposals. I will fly to Disney World, Hollywood, and Huntsville, Alabama's U.S. Space and Rocket Center.

But for now I’m simply the twelve-year-old son of fundamentalist Christians who caved and got cable. Cable! A boy sitting on a couch on a Saturday night in Nashville watching television for the first time in his life with the option of more than a single public station.

I’m an excited boy, a wide-eyed boy, amazed and stimulated and overwhelmed by kung fu movies and (oh my God!) MTV. A remote-controlling boy who absorbs like a dry sponge dunked into pure neon, who keeps the clicker from his big brother. The brother grows red in the face and angry. A boy who can’t get enough, wrapped in a blanket with brand new cable and who clicks and clicks and then, suddenly, there is a man, his face filling the screen, his hair and beard a single unit, pulled over his head like a balaclava, frizzy and thick, the consistency and loft of couch-pillow stuffing. The man is amazing. He is huge and happy. I am a boy who just discovered Hillbilly Jim.

Hillbilly Jim is about to wrestle the Earthquake. The Earthquake is angry. He is yelling and spearing at the camera with his meaty pointer finger, talking about all the things he will do to Hillbilly when he gets his hands on him. The Earthquake is enormous, blue spandex, thinning hair. He says he is going to kill Hillbilly Jim, and I believe him.

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