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Posts Tagged ‘travel’

A Marvelous Crutch: An Interview with Brad Zellar

April 25, 2014 | by

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McKenna. Corsicana Tumbling Academy. Corsicana. Photo: Alec Soth, via LBM Dispatch

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Douglas. Beverly Hills. Photo: Alec Soth, via LBM Dispatch

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Fellowship Church. Grapevine. Photo: Alec Soth, via LBM Dispatch

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Reveille VIII, Texas A&M mascot. College Station. Photo: Alec Soth, via LBM Dispatch

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Texas City, “The town that would not die.” Photo: Alec Soth, via LBM Dispatch

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Cory and Justin, Bull riders, in San Antonio. Photo: Alec Soth, via LBM Dispatch

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Execution of Jerry Martin. Huntsville Prison, Walls Unit. Photo: Alec Soth, via LBM Dispatch

Brad Zellar’s writing has appeared in daily newspapers from Minnesota and in an expansive blog called Your Man for Fun in Rapidan; he has chapters and essays in collections like The 1968 Project and Twin Cities Noir, and occasionally he writes fiction, which he tells me he publishes “under an assortment of fake names.” But he’s most comfortable writing about photographs, as he did in the book Suburban World: The Norling Photos, and in his most recent project with the photographer Alec Soth, the LBM Dispatch.

Named for and printed by Soth’s limited-run publishing house, Little Brown Mushroom, the Dispatch reimagines the iconic American road-trip photography book as a series of small newspapers, each of which chronicles a quick trip Zellar and Soth have taken through a different state or territory. Previous Dispatches have covered Michigan, Ohio, and California’s “Three Valleys—Silicon, San Joaquin, and Death.” The most recent includes images and stories from the Texas Triangle.

I wanted to know about the writing process for the Dispatch, and how Zellar chooses the issues’ many quotations from historical and literary sources. But I was most curious to hear his thoughts on writing to accompany images. Not quite a photo-interpreter in the Berger/Sontag tradition (though he is a great writer in the “how to look” sense), Zellar embraces photography as a fan, and he’s not afraid to let images do the talking when necessary. In Zellar’s work, photos are windows, excuses for curiosity—above all, the Dispatch embodies the devotion to stay curious.

A lot of your work, here and elsewhere, has accompanied photos. How does it affect your own writing to know that pictures will share its space? How does it make you think about your purpose as a writer?

The public library in my hometown had a terrific collection of photo books when I was a kid. I was an obsessive reader, but it was from those photo books that I formed my first real impressions about what the world looked like. And they played a huge role in cementing a resolve that I very much wanted to travel and see that world. I used to spend hours hunched over William Eggleston’s Guide, the first Diane Arbus monograph, and a book of vernacular American photographs called The Champion Pig.

From an early age I used to write stories based on photographs, and I’ve never really stopped. I have a large collection of found photos, I like to take photos myself, and I just get a kick out of looking at pictures and trying to animate them with words. I love that photos represent so many possible realities, and they’re sort of a laboratory for exploring points of view. You have the people in the pictures, obviously, each of them a different voice with a different version of whatever story is being told, you have the people outside the frame or lurking in the peripheries, and then, of course, you have the photographer. Read More »

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Writing the Lake Shore Limited

February 19, 2014 | by

Trains as writers’ garrets.

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A postwar ad for the Pennsylvania Railroad.

I am in a little sleeper cabin on a train to Chicago. Framing the window are two plush seats; between them is a small table that you can slide up and out. Its top is a chessboard. Next to one of the chairs is a seat whose top flips up to reveal a toilet, and above that is a “Folding Sink”—something like a Murphy bed with a spigot. There are little cups, little towels, a tiny bar of soap. A sliding door pulls closed and locks with a latch; you can draw the curtains, as I have done, over the two windows pointing out to the corridor. The room is 3’6” by 6’8”. It is efficient and quaint. I am ensconced.

I’m only here for the journey. Soon after I get to Chicago, I’ll board a train and come right back to New York: thirty-nine hours in transit—forty-four, with delays. And I’m here to write: I owe this trip to Alexander Chee, who said in his PEN Ten interview that his favorite place to work was on the train. “I wish Amtrak had residencies for writers,” he said. I did, too, so I tweeted as much, as did a number of other writers; Amtrak got involved and ended up offering me a writers’ residency “test run.” (Disclaimer disclaimed: the trip was free.)

So here I am. Read More »

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The Paris Review Reviews Paris

January 9, 2014 | by

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We looked into it.

Exactly 365 days ago, the poet Patricia Lockwood asked:

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Rightfully, her query went on to enjoy more than a thousand retweets, landing on several best-of-2013 lists, and earning plaudits from all over—because it’s a really good question. We were confounded. Despite our name and the dozens of interviews we’ve conducted in Paris, we had never really thought to assess the city’s quality.

We put our top people on it. For the next 365 days, our agents combed the twenty arrondissements, an army of flaneurs with clipboards in hand, golf pencils tucked behind their ears. They took water samples, soil samples, croissant samples. Equipped with measuring tapes, Geiger counters, and elegant cravats, they scrutinized the city’s every boulevard and metro station. They assessed the turbidity of the Seine; they carbon dated paintings, supped on the finest Bordeaux, and enjoyed the haute fare of Le Chateaubriand, Septime, and Benoit. They sent up weather balloons and infiltrated the fashion houses. They noted the Royale with Cheese. From Gentilly to Saint-Ouen, no stone was left unturned, no bichon frise unnuzzled. Then, having conducted such exhaustive research, they crunched the numbers, feeding the data into a series of world-class supercomputers with processing speeds in excess of thirty-three quadrillion floating-point operations per second. At last, they furnished a verdict:

It’s pretty good!

Case closed.

 

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LA Story

December 18, 2013 | by

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I have just moved to Los Angeles from the Middle East, and everyone keeps asking me if the city is too quiet—Am I bored? Is it safe?—and the answer is, No, I am not bored; yes, it seems safe, and yes, that’s fine by me. Mostly I am in a state of awe, blown away by a grocery store, the knock of the mailman at the door, the speed of the Internet; the easy friends you can make on the sidewalk or on the bus or while watching your kids play soccer or walking down Venice Boulevard, waiting for a light to change, en route to the University of Southern California, where I found myself the other day, seeking out the next thing I might do with my life, right before things went wrong again.

I was facing new and mostly pleasant options. Such as: Should I wish to travel across the east-west spine of Lost Angeles, in the fall of 2013, from Venice to the urban campus of USC, did I want to walk four or five hours, doing ten miles on foot; drive thirty minutes; ride a bike for an hour and a half; or, as I ultimately resolved to do, take a city bus to the Culver City train line.

Showering, lacing up a pair of suede boots, donning a clean shirt, loading up a satchel with books and water, I crossed Lincoln Boulevard, behind a smog-check shop, whose sign made it clear they’s only do checks, not repairs, and then I followed an alley parallel to six lanes of heavy afternoon traffic.

In front of a crumbling apartment complex, on a set of concrete stairs, I admired a selection of jars, bowls, fire-rimmed tin cans, and handmade signs. Next to one pagan cup leaned a pair of tongs, perhaps for a hookah, and then I was accosted by a man who stood beside the open door of a midnineties Ford Explorer. Read More »

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A Life in Matches

September 19, 2013 | by

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A Life in Matches: Marineland Restaurant, Marineland, California. Photograph by Ben Stott.

How does one document his or her life? Do you track the minute details of each and every day in a diary, like Ned Rorem, or measure it out with coffee spoons, as J. Alfred Prufrock declared? When digging through the last boxes and cases from his grandfather’s home, Justin Bairamian found an old suitcase, full to the brim with thousands of matchbooks. They were from the Savoy in London to the Marineland Restaurant in California, and many had his grandfather’s own scribbles noting the location and year on the inside cover. Bairamian had discovered a beautiful record of a life well lived.

Bairamian has allowed designer Ben Stott to catalogue a sample of the collection, one day at a time, on the blog A Life in Matches. It is a brilliant tribute to one man’s life, as well as insight into the evolution of graphic design.

 

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Maximum Ride

July 22, 2013 | by

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While the thesis of this article—that business travelers still enjoy reading—may seem less than revelatory, we were intrigued by the following anecdote:

Carrying a book while traveling often spurs conversations with strangers, many business travelers say.

[Gene] Jannotti says he was holding a James Patterson novel when he walked into a restaurant and the maitre d’ remarked that he had read the same book.

“I told him he couldn’t have read the same book and then opened the cover to show him James Patterson’s autograph,” Jannotti says. “Needless to say, he escorted me to a very nice table and came by several times to be sure that I was happy with the food and the service.”

We feel that, on the contrary, there was every need to say this. We are, however, still figuring out the best use of the information.

 

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