Posts Tagged ‘Vivian Gornick’
June 8, 2015 | by Dan Piepenbring
- At last, the time has come for robots to harness the single most powerful force known to humanity: metaphor. An attempt to teach emotional nuance to artificial intelligences, The Poetry for Robots project invites people—even decidedly unpoetic people—to react to photographs in verse, which the robots will thereafter memorize, as is their wont. “By feeding poems to the robots, the researchers want to ‘teach the database the metaphors’ that humans associate with pictures, ‘and see what happens.’ ”
- Pistols at dawn! The duel, which was at the peak of its powers in the eighteenth century, enjoyed a prominent status in the literature of the era. Actually, “without literature, there would be much less to go on, historically speaking. Dueling was usually illegal. It was often tolerated, but, still, discretion was an issue—dueling at dawn was popular for reasons of secrecy … One outcome of the silence surrounding the activity was that, for first-timers, the nearest guide to protocol might lie in fiction.”
- Vivian Gornick on Delmore Schwartz: “Like the time itself, everything about him was out of control—his beautiful, anxiety-ridden face, his stormy eloquence, his outrageous self-dramatization. He charmed and alarmed. There was a sweetness of spirit at the center of all his dishevelment that made nearly everyone who knew him hold him in tender regard.”
- Fact: “under the right conditions, three atoms that all repel each other will be forced into an inseparable triad.” Physicists have only recently discovered what existentialists have known for a good while—“hell is other atoms.”
- In French, the word créneau—what we’d call a crenellation, or a battlement in a castle—has taken on a rich figurative life; it can mean a parking spot, an appointment time, even a market opportunity. In other words, it’s very much like our word slot. So why not ask: “Does it mean anything that the French etymology sees appointment times, schedule segments, and parking spaces as figurative openings in a defensive wall made for ‘shooting or launching projectiles upon the enemy,’ while English speakers see them figuratively as shaped depressions made to allow pieces of wood to be fit together into useful structures?”
January 27, 2015 | by Dan Piepenbring
- From the department of own-horn-tooting: Looking for something to read today? Try The Paris Review. But you didn’t hear it from us: “One thing I’d like to have on my blanketed lap today,” Dwight Garner wrote, “is the new issue of The Paris Review. That journal has found its mojo, in a big way … The new one has among other things a warm and wise interview with the memoirist and essayist Vivian Gornick that’s worth the price of admission alone.”
- India’s Jaipur Literary Festival is advertised as the largest free literary festival in the world. “This year it attracted an estimated 80,000. And on the fourth day, with 20,000 packed into the disorderly old palace complex where it is held, and the queues for entry still growing, the police abruptly closed the gates. They feared a stampede was coming. But who were these people? And what were they coming for?”
- A new book looks at midcentury graphic design in California, which had a sensibility and influence all its own: “Fuck New York. Fuck Europe. We’ll figure out what art is.”
- Whither the ukulele? It began its life as a piece of exotica and then, in the hands of Tiny Tim, descended promptly into kitsch—but some say it’s enjoying a revival. “The ukulele still plays its role as everyman instrument quite convincingly.”
- Today in people who are wrong: “Today’s minor arts, I think, include theater, ballet, opera, symphonic music, and literary fiction. These still include small audiences whose members are not also creators, audiences who patronize these arts in part out of an inherited feeling that these are superior to movies or genre fiction … The literary novel, too, may be on its way to losing its minor art status and becoming a pure hobby.”
December 1, 2014 | by The Paris Review
That photo on the cover comes from Marc Yankus, whose subject is New York buildings: “I can feel the brick, I can feel the hardness and the corners of the building ... the structure, the monolith, the sculpture, the abstract.”
In the Art of Memoir No. 2, Vivian Gornick talks about feminism, bad reviews, love versus work, and coming to terms with failure:
I knew I had to stay with it as long as it took to write a sentence I could respect. That’s the hardest thing in the world to do—to stay with a sentence until it has said what it should say, and then to know when that has been accomplished.
And in the Art of Screenwriting No. 5, Michael Haneke reveals the imaginative process behind movies like The White Ribbon and Amour—and why there are no “right” readings of his films:
I would never set out to make a political film. I hope that my films provoke reflection and have an illuminating quality—that, of course, may have a political effect. Still, I despise films that have a political agenda. Their intent is always to manipulate, to convince the viewer of their respective ideologies. Ideologies, however, are artistically uninteresting. I always say that if something can be reduced to one clear concept, it is artistically dead.
There’s also a special triple feature on Karl Ove Knausgaard, with an exclusive excerpt from My Struggle, Book 4; an essay on depression and Dante’s hell; and an exchange with The New Yorker’s James Wood on masculinity and good reasons for writing badly.
Plus new fiction by Joe Dunthorne, Ottessa Moshfegh, Sam Savage, and Saïd Sayrafiezadeh; poems from Sylvie Baumgartel, Jeff Dolven, Cathy Park Hong, Phillis Levin, Jana Prikryl, Frederick Seidel, and Brenda Shaughnessy; and a series of aphorisms by Sarah Manguso.
Get your copy now. And may we add that a subscription to The Paris Review makes a great present? The recipient will receive a postcard announcing your gift with your personal message. Just select the “gift” option when you check out.
October 16, 2013 | by Diane Mehta
Vivian Gornick describes the journey to self-possession as one of unimaginable pain and loneliness. “It is the re-creation in women of the experiencing self that is the business of contemporary feminism: the absence of that self is the slave that must be squeezed out drop by drop,” she says, quoting Chekhov, in “Toward a Definition of the Female Sensibility,” from her 1978 collection Essays in Feminism.
The journey, Gornick observes, is “one in which the same inch of emotional ground must be fought for over and over again, alone and without allies, the only soldier in the army, the struggling self. But on the other side lies freedom: self-possession.”
Last July, three years to the month that my marriage ended, I also ended my first serious postdivorce relationship, on the eve of the twelfth anniversary of my mother’s death. It was the first year I had forgotten my mother’s anniversary and one month after my divorce became official. My ex-husband, who had vowed to become a better friend the day we told my father we were splitting up, showed up when others were too fed up with my ramblings and hand-wringing over a man who had made me astoundingly unhappy for months. For some, it was not easy to understand that the sexual content of being loved, after so much loss, was simply gripping. Read More »
June 21, 2013 | by Sadie Stein
Why aren’t there more novels about Quaker worship? It’s inherently dramatic, people sitting in silence and waiting for God to speak through them. Dramatic—and really, really funny. For proof look no further than Nicholson Baker’s forthcoming novel, Traveling Sprinkler. The hero, Paul Chowder, spends a lot of time attending Quaker meetings (i.e., church). Most of the rest of the novel he spends trying to teach himself the guitar, write (incredibly dorky) songs, and win back the girlfriend who left him in Baker’s earlier novel The Anthologist. There are lots of reasons to love Traveling Sprinkler: Baker gets sweeter with each new book, and underneath the sweetness lie witty arguments about poetry and song and taste. Among other things, this is the best novel I’ve read about Spotify. It also vividly captures Quaker beliefs and practices at a moment when, as Paul Elie wrote last year in the New York Times, many novelists have trouble writing about religion. —Lorin Stein
“Beautiful and brilliant, possessed of an eye protected against sentiment coupled with a steel-trap mind and a tongue feared by all who had been at the receiving end of its talented sarcasm, a sarcasm that for some would always be wickedly amusing, for others just wicked.” So says essayist (and issue 204 contributor) Vivian Gornick of critic and writer Mary McCarthy on The New Yorker’s Page-Turner blog. In a piece drawn from her introduction to a new edition of McCarthy’s 1949 novel, The Oasis, Gornick highlights the book’s biting satire but, more importantly, McCarthy’s fearlessness in barely disguising her characters from their real-life counterparts (mostly her Partisan Review colleagues). As McCarthy stated in her Art of Fiction interview, “What I really do is take real plums and put them in an imaginary cake.” —Justin Alvarez Read More »
February 27, 2013 | by The Paris Review
If you happened to be in Paris this past month, and walked past the public toilets at the corner of rue Alexandre Dumas and boulevard de Charonne, you may have noticed a giant picture of George Plimpton’s face gazing out over the 11th arrondissement with great benignancy and just the slightest possible suggestion of a gueule de bois. This illegal memorial to our founding editor, by the poster artist JR, celebrates the sixtieth birthday of The Paris Review in the city of her birth.
It happens also to be the cover of our special anniversary issue.
Deborah Eisenberg talks failure and perseverance with Catherine Steindler—
You write something and there’s no reality to it. You can’t inject it with any kind of reality. You have to be patient and keep going, and then, one day, you can feel something signaling to you from the innermost recesses. Like a little person trapped under the rubble of an earthquake. And very, very, very slowly you find your way toward the little bit of living impulse.
Mark Leyner talks process with Sam Lipsyte—
When I was at Brandeis, I met this girl named Rachel Horowitz, and we really loved reggae music. This was in 1970. We decided, Why don’t we go to Jamaica? So we went and we got some really nifty little bungalow place in Montego Bay—very cheap, because we couldn’t afford much then. And it had a little pool for the couple of bungalows and a little kitchen. And I’d never really stayed in place like this on my own, with a girlfriend. I mean, nothing quite like that. I had been away the year before with another girl, took a trip to Israel and in Europe and things, but I’d never been in a groovy tropical place like this. And we had a car, so one day we drove into town and got some stuff, because we had a refrigerator and a pantry. We also got some Red Stripe. And this guy at Brandeis had given me some acid to bring to Jamaica. This guy was like the Johnny Appleseed of acid. He would take a load of acid and explain an album cover to you for just hours. He would take a Hot Tuna album that you had seen a trillion times and he would begin to examine it with these long lectures that were like Fidel Castro giving a lecture at the Sorbonne. He also once set his hand on fire and watched it for quite a while because he was so high. That really impressed me. Anyway, this guy had given me some acid and one night, when Rachel and I were just hanging out in the hotel, I said, You wanna take some? She said no. I said, Okay, I think I’m going to. So I took it, and it comes on, and then I want a beer and I go into the little kitchen, and by now the acid’s full on and this guy, this big flying cockroach, like a palmetto bug—you know those things?—it crawls out of the six-pack, and to me, at the time, it was like a pterodactyl, in some Raquel Welch movie set in prehistoric times. According to Rachel, I batted this thing in the little kitchen for, like, five hours. She heard pans and things breaking and she said I emerged with a torn shirt, sweaty—and victorious. That’s what my experience of writing The Sugar Frosted Nutsack was like. Battling this pterodactyl in the closet with a pan. At a certain point, of course, the book attained a mind of its own, a subjectivity or an autocatalytic, machinelike quality.
And Willa Kim shows us her store of Paris Review erotica.
Plus, fiction by Adelaide Docx, David Gates, Mark Leyner, Ottessa Moshfegh, Adam O’Fallon Price, and Tess Wheelwright. Poetry by Sylvie Baumgartel, Peter Cole, Stephen Dunn, John Freeman, Tony Hoagland, Melcion Mateu, Ange Mlinko, Frederick Seidel, and Kevin Young. Essays by Vivian Gornick and David Searcy.
On newsstands March 15. Subscribe now!