Posts Tagged ‘Virginia’
June 25, 2015 | by Dan Piepenbring
In the sixth chapter of “Big, Bent Ears,” Sam Stephenson and Ivan Weiss’s “Serial in Documentary Uncertainty,” the pair turn their gaze to Lexington, Virginia, where Cy Twombly was born in 1928; he grew up four blocks from Stonewall Jackson’s grave, though you wouldn’t know it to roam the town today. “A primary problem in biography,” they write, ‘is that a subject’s formative years are the least documented and the least available. Twombly is no different; the boy and young man are difficult to find, difficult to feel.” As they get a sense of the town and Twombly’s history there, their research leads them to a meditation on his famous painting, Treatise on the Veil (Second Version), and the connection between its sense of tragedy and Twombly’s roots in Virginia. First, though, they find a note on his high-school yearbook photo:
Tall, dark, and very outstanding—Cy is really one of the boys. He’s the only one of our class to have gained state-wide recognition (with his educated brush). Unlike many of us, he’s often seen with some weighty volume on a deep subject, and is well acquainted with the best in music—long-hair stuff, see? We know we’ll have even more reason to be proud of you, Cy.
Read the latest chapter here, and catch up on the rest of the series:
- Chapter One, There Are No Words
- Chapter Two, Borderline Religious
- Chapter Three, Nazoranai, a Documentary
- Chapter Four, In Search of Lost Time in Knoxville
- Chapter Five, Alien Observers
Dan Piepenbring is the web editor of The Paris Review.
May 13, 2015 | by James McWilliams
The complicated sex drive of William Byrd II.
William Byrd II was a colonial Virginia gentleman who, on occasion, was no gentleman at all. Writing about himself in the third person, in 1723, he bemoaned “the combustible manner in his constitution”; he cursed the innate passions that “broke out upon him before his beard,” making him a “swain” before all women. Byrd’s carnal drive underscored the eyebrow-raising vigor of his lust. On a trip to London in 1719, according to his secret diary, he “rogered”—an easy enough euphemism—no fewer than six women in nine days. Of one woman, he (proudly) recorded having “rogered her three times” in a single evening. That same night, Byrd, aged forty-four, noted with a tinge of sadness that he had “neglected my prayers.”
When he wasn’t on a whore-chasing jag in the metropolis, Byrd was back on his Virginia estate, called Westover, with his wife, Lucy. At Westover, his sexual proclivities certainly raged with similar, singleminded intensity—he wrote in his diary about having urgent sex with Lucy on a billiards table—but it was also tempered by a healthy desire to achieve mutual pleasure with her. He was just as inclined to “give my wife a flourish”—bring her to orgasm—as he was to “roger” her, a semantic shift suggesting that Lucy’s response to their sexual union mattered as much to Byrd as his own physical gratification. On April 30, 1711, he noted in his diary that although he discovered his wife in a “melancholy” mood, the “powerful flourish” he delivered filled her with “great ecstasy and refreshment.” He recalled one morning during which “I lay in my wife’s arms” while, during another, his wife “kept me so long in bed” that “I rogered her.” That evening he got around to saying his prayers—before rogering her again. The man could be a virtuous, even tender, Tidewater lover when he wasn’t being a London sleazebag. Read More »
October 13, 2014 | by Jeff Simmermon
In 1972, Willie Nelson and Waylon Jennings changed the face of country music forever with the Outlaw country sound. In 1974, the Ramones did the same thing for rock ’n’ roll. In 2000, my friend Tim and I set out to do the same for both genres with a way-out sound and a more ambitious instrumentation.
We call ourselves Royal Quiet Deluxe, which is also the make and model of the typewriter I play as percussion. Tim plays the guitar and the bass, often simultaneously. We provide the backing rhythms for two live chickens that peck out abstract melodies on toy pianos.
Every rehearsal and performance is a spontaneous improvisation, and no two performances are ever the same. The chickens are named Kitty Wells and Patsy Cline. Different individual chickens come and go, but in our pretentious barnyard Menudo they are always named Kitty Wells or Patsy Cline.
The band played two shows last year in college that we felt went incredibly well. Our former housemate lives in Japan now with a boyfriend who books bands in Osaka and Tokyo. We lied to her a little about how much we’d improved since graduation, and she lied to her boyfriend a little more on top of that, and now he says that if we can get him a solid live tape, of an actual show with a cheering audience and everything, he can book us a tour in Japan.
And you just know Japanese people are crazy about this kind of shit. Read More »
June 30, 2014 | by Sadie Stein
Sally Bell’s started making box lunch in the 1950s, but the recipes used to make the salad, sandwich spread, deviled egg, cheese wafer, and cupcake that go into the box date back to the 1920s, when Sarah Cabell Jones opened her bakery in a building across the street. There is nothing singly spectacular about the immemorial meal you get here, except for its immunity to anything modern. Sally Bell serves the exact lunch it served a half-century ago, which is probably much the same as polite Virginians ate a hundred years ago. There are two salads from which to choose: macaroni, which is fine, and spicy-sweet potato salad laced with onions, which is memorable. Of the eleven kinds of sandwiches, we seldom can resist pimiento cheese, but we have not regretted chicken salad (on a roll rather than white bread), cream cheese and olive (talk about a bygone taste!), and thin-cut Smithfield ham. As for cupcakes, there’s no beating the orange-and-lemon, its icing sprinkled with little bits of citrus confetti. All the elements are neatly packaged in a cardboard lunchbox lined with wax paper.
—Jane and Michael Stern, Roadfood
Sally Bell’s Kitchen is hardly a secret. It is a Richmond institution, beloved by generations of Fan District denizens, and the subject of a lengthy profile, in 2000, in the New York Times. Saveur calls its box lunch “paradise in a box.” Its demure, upside-down cupcakes, twenties-vintage Colonial Dame logo, deviled eggs, and old-fashioned, pecan-crowned cheese wafers—described by the Sterns as “heartbreaking”—speak to a sort of timeless gentility most of us can only imagine.
Certainly I can. I have no ties to Richmond, no institutional memory of the place. The three times I’ve tried to visit Sally Bell’s, I’ve fallen victim to the bakery’s conservative hours. And yet my obsession with the place is so well known that friends have more than once taken the time to wait on line and rush me a box lunch up to New York. People have given me aprons emblazoned with the cameo logo and a picture book filled with mouthwatering images of deviled eggs and beaten biscuits. On occasion I have been known to print out a copy of their menu and quixotically check off the options that appeal to me: potato salad, ham roll, lemon cupcake. For a while I had this pinned over my desk at work. I imagine people found this eccentric; in fact, I found it deeply comforting. Sally Bell’s—or my dream of it, anyway—has somehow become my happy place: a magical, cozy, well-ordered, old-fashioned realm filled with immutable recipes and homemade mayonnaise. Never mind that these aren’t the foods I grew up with; they have somehow become, for me, the definition of comfort. When I’m sad or disoriented, I pull down my book and pore over those pictures. I watch this film again and again, and I cry for reasons I can’t even explain to myself. Read More »
January 2, 2013 | by Sadie Stein
“Now is the accepted time to make your regular annual good resolutions. Next week you can begin paving hell with them as usual. Yesterday, everybody smoked his last cigar, took his last drink, and swore his last oath. Today, we are a pious and exemplary community. Thirty days from now, we shall have cast our reformation to the winds and gone to cutting our ancient shortcomings considerably shorter than ever. We shall also reflect pleasantly upon how we did the same old thing last year about this time. However, go in, community. New Year’s is a harmless annual institution, of no particular use to anybody save as a scapegoat for promiscuous drunks, and friendly calls, and humbug resolutions, and we wish you to enjoy it with a looseness suited to the greatness of the occasion.”
—Mark Twain, letter to Virginia City Territorial Enterprise, January 1863
September 27, 2012 | by Sadie Stein