Posts Tagged ‘trash’
August 4, 2016 | by Wei Tchou
How the Brooklyn Bridge became a living landfill.
I too saw the satin ribbons, the scrunchies, the clothing tags, the fat knots of underwear and panty hose, had my eyes dazzled by the foil of a bag of potato chips, the ripped labels of Poland Spring water bottles, look’d on the clear plastic rosary with a cross, the teak mantra beads strung on red thread, look’d at the fine centrifugal spokes of light round the shape of a plastic spoon, and saw how four black locks neatly proselytized in gold marker (JESUS <3’S YOU, BE A CHRISTIAN, KEEP GOD <3 FIRST <3, GOD IS GREAT). Crossing the Brooklyn Bridge one evening last week, I too felt the curious abrupt questionings stir within me when I saw the white diaphanous fluff of tampons—unused, I hope—that had been tied to the railings by the living crowd. Read More »
September 2, 2014 | by Dan Piepenbring
- In the years before John Updike died, a man began to steal a lot of his garbage—thousands of pieces, actually, including “photographs, discarded drafts of stories, canceled checks, White House invitations, Christmas cards, love letters, floppy disks, a Mickey Mouse flip book, and a pair of brown tasseled loafers.” Taken as a whole, the collection amounts to a kind of secret history, a trash biography. (“My life is, in a sense, trash,” Updike said in his Art of Fiction interview.)
- “How does one choose books that one knows one is going to enjoy? The obvious answer is that you can’t … Think of all the times we start a book that we think we should be reading—because everyone else is reading it, because it’s won a prize, because our book group has chosen it, despite our misgivings. And think of all the times we refuse to abandon a book we are not enjoying—because we are peculiarly puritanical about literature—thus creating an antagonism and a reluctance that must damage our relationship with reading.”
- This year’s Venice Biennale, an architecture show, “reveals that modernism was never a style. It was a cultural, political, and social practice: the practice of making buildings suited to certain exigencies of life in a rapidly changing and developing world. And since, by definition, the question of how and what it meant to ‘make something modern’ changed over time and space—different in Finland than in Morocco—so also did the design of the buildings that emerged from it.”
- In which the keening of a single blue whale teaches us something about loneliness.
- What kind of worker is a writer? On Tillie Olsen, who wrote in dribs and drabs while holding down menial jobs and raising four children: “Writing, Olsen reminded her readers, takes time, education, energy, and resources, and these things are unevenly distributed. She encouraged us to attend to unorthodox writing produced in unfavorable circumstances—letters, diaries, scrapbooks like her own—and, in doing so, to question what counts as literature.”
September 24, 2010 | by Jillian Lauren
My first sexual fantasy involved my abduction by a composite character made up of equal parts Danny Zucko from Grease and the weathered carny who had looked me dead in the nine-year-old eye as he pulled the lever of the Tilt-A-Whirl. The post-abduction details were unimportant. What mattered was the moment of being caught; what mattered was the fact that one moment I’d be navigating the root-torn sidewalk of my street and the next an arm would be around my waist and the world would be set into wild motion.
The next fantasy I can remember was a lesbian prison gang rape. I appropriated this fantasy not from the wonders of cable TV but from books. My mother was a voracious reader, if not a discerning one. Lining her shelves were the eighties airport standbys: V. C. Andrews, Danielle Steele, and Sidney Sheldon. Every night I sat on my white wicker bed and read trashy novels by flashlight until I began to understand what sex was in those stories—a plot device. Sex, I learned from my reading, was a function of power and nothing more. If one could just wield it properly, one might figure out a way to win a happy ending, or at least a prison protector.
But it wasn’t until age fourteen that I met Seymour Glass and fell in love. I read Nine Stories and read it again and found that it left me suffering more sleepless, feverish nights than the carny and Danielle Steele combined. I wasn’t even sure why I related to it exactly. I had so little in common with the female characters who populated Salinger’s landscape—slim, Gentile women in camel-hair coats sunk in noble pain while standing on train platforms in New England college towns.
There is nothing literary about the pain of a fat, Jewish Jersey girl wearing a Sex Pistols T-shirt and sitting on a bench in the Livingston mall, eating bagels and smoking cigarettes.
And yet, boiled down to the metaphysics of the thing, there was my world, a world of persistent discomfort and inappropriate hunger. A world in which perilous desire trembles just under the surface of the polite world. Seymour kisses the arch of a small foot and moments later puts a bullet into his brain. Eloise, drunk and heartbroken, kills her daughter’s imaginary friend. It was a world of sensual details and dangerous, irreparable moments.
I first read Nine Stories and felt the nakedness of being recognized in my loneliness. Desire wasn’t a narrative device with a neat payoff; rather, it was an ocean of longing that unfolded toward an ever-receding horizon. The book got inside me in a way that changed me irrevocably and, conversely, felt like it had been there all along. And that, I imagined, would be what having a lover would feel like.
Trashy novels encouraged me to employ sex as a strategy. But it was ultimately Salinger who made me want to fuck.
Jillian Lauren is the author of the memoir Some Girls: My Life in a Harem. Her novel, Pretty, will be published by Plume next summer.