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Posts Tagged ‘women’

2: “I Had Been Working My Tits Down to Nubs”

March 19, 2015 | by

From “Martin Wade Leaves a Party” through “Sekopololo,” pp. 29–55

mating

This is the second entry in our Mating Book Club. Read along.

My God, that’s awful!” This was, by her own account, Elsa Rush’s reaction to one of the most memorable—and one of my favorite—lines in her husband’s novel: “I had been working my tits down to nubs.”

Some context: Our unnamed narrator is trying to ferret out what her current paramour, a British spy she calls Z., knows about the elusive Nelson Denoon, an iconoclastic figure in the anthropological world. Denoon, who has been hovering on the novel’s margins since its very first pages, will soon become—and I trust this is no spoiler—her lover; but, for the moment, he is merely “the pinnacle of whatever vineyard I was laboring in as a groundling,” the object of her “ressentiment.” “I was thirty-two,” our narrator explains, “and a woman and no doctorate yet, no thesis even, and closing in on my thesis deadline. I had been working my tits down to nubs in the study of man, with the result that my goals were receding farther the faster I ran.” Read More »

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New Lovers: An Interview with Paul Chan

March 10, 2015 | by

NL3

Paul Chan is best known as a multimedia artist, writer, and activist, but in 2010 he added publisher to his long list of achievements when he founded Badlands Unlimited, an imprint with a mission that embraced changes in the way books are created and circulated: “We make books in an expanded field.” Chan’s modest house boasts a list rich in writing and ideas. In its brief history, it’s published, among others, Calvin Tomkins’s collected interviews with Marcel Duchamp, Yvonne Rainer’s poems, Saddam Hussein’s speeches on democracy, and a monograph of curator Hans-Ulrich Obrist’s notes and hand-drawn diagrams.

This year, Chan and his Badlands coconspirators—Ian Cheng, Micaela Durand, and Matthew So—launched the first three titles of New Lovers, a series of erotic novels written by women for a new generation’s sexual imagination. In Lilith Wes’s We Love Lucy, a young woman throuples up with her best friend and his boyfriend; Wednesday Black’s How to Train Your Virgin tells of a queen in a colorful, fantastic realm who tries to win back the lust of her king; and in God, I Don’t Even Know Your Name, Andrea McGinty tracks a young artist’s worldwide sexual adventures after she begins using a new dating app called Bangly. In short, the books are intended to be colorfully hot reads for the thinking pervert.

I met with Chan to talk about New Lovers a few weeks ago in his airy, light-filled studio in Industry City, Brooklyn. He and his team were in the final stages of completing work for “Nonprojections for New Lovers,” Chan’s solo exhibition at the Guggenheim Museum in New York, organized in honor of his winning the 2014 Hugo Boss Prize. To my surprise, Chan was utterly cool and calm considering the coming storm.

Badlands Unlimited largely publishes art books. How does erotica fit into your mission?

From the very beginning, one of the models for Badlands has been Maurice Girodias’s Olympia Press, which was one of the craziest, most vanguard presses out there. They funded themselves selling erotica. A year and a half ago, we published a political romance inspired by Michele Bachmann by the poet Trey Sager. It was called Fires of Siberia, and we had a lot of fun doing it. So we thought, Why not explicitly use the model of Olympia Press to do a series of erotic romance books? We’ll focus on women writers, publish them as paperbacks and e-books, and see what we get.

Why focus on women writers?

They write better erotica. We read some manuscripts written by men. We didn’t like them. Read More »

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The Favorite Game

September 19, 2014 | by

Leonard Cohen in love.

leonard cohen

Cohen in 1988.

“Desperation is the mother of poetry.”
—Leonard Cohen

Like most people, I remember the first time I had sex pretty well. I can recall the surprisingly adept flirting I carried off beforehand, and the moment of pleasant shock when she kissed me. I remember how we stayed in bed until three the next day and how when we finally got up, faint from hunger, we went to eat at a greasy spoon that had a little jukebox by each table. I have no idea what I ordered, but I do remember that she got a grilled cheese sandwich. In the next year and a half that we were together, I don’t know if she ever ate another one.

We all have memories like that, jumping out of oblivion like buoys in the water. The facts might be fuzzy, but the moments are clear. Leonard Cohen describes such a memory in his first novel, The Favorite Game, published in 1963, when he was twenty-nine:

What did she look like that important second?

She stands in my mind alone, unconnected to the petty narrative. The color of the skin was startling, like the white of a young branch when the green is thumb-nailed away. Nipples the color of bare lips. Wet hair a battalion of glistening spears laid on her shoulders.

She was made of flesh and eyelashes.

Cohen, who turns eighty on Sunday, is exceptionally good at drawing out those moments of sexual crystallization. It’s a skill that, along with his gravelly voice and poems about women’s bodies, has given him a reputation for being a “ladies’ man.” Judging by the adoring crowds at his shows, it’s a reputation he deserves.

Yet it isn’t success with women that accounts for Cohen’s particular vision, even if his fame as a lover may have, over time, borne the fruits of self-fulfilling prophecy. Rather, his work is shot through with fears of physical deficiency and sexual deprivation, loneliness and insecurity. “He could not help thinking that … he wasn’t tall enough or straight, that people didn’t turn to look at him in street-cars, that he didn’t command the glory of the flesh,” he writes of his autobiographical protagonist in The Favorite Game. Decades later, in his 2006 poetry collection Book of Longing, Cohen confessed: “My reputation as a ladies’ man was a joke / that caused me to laugh bitterly / through the ten thousand nights / I spent alone.” Read More »

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Diego, Frida, and Me

March 20, 2013 | by

Molly's Factory

Molly’s Factory

When a woman artist looks for her forebears, she sees a void.

There are, needless to say, great female artists. There’s Tamara de Lempicka, queen of art deco. There’s Artemisia Gentileschi, forever in paintings, cutting off her rapist’s head. There’s love-ravished Camille Claudel, making the hands of her lover Rodin’s sculptures before being institutionalized for forty years. There are Mary Cassatt’s paintings of children. But it can’t be denied: the canon of Western woman’s art is nothing compared to the canon of Western woman’s writing.

Noted Audre Lorde, “Of all the art forms, poetry is the most economical. It is the one which is the most secret, which requires the least physical labor, the least material, and the one which can be done between shifts, in the hospital pantry, on the subway, and on scraps of surplus paper.” While a writer may require only a room of one’s own, an artist needs years of training, muses, a studio, canvas, paints, patrons, and, fundamentally, a world that lets her be grubby and feral and alone.

Growing up, the women in art history who inspired me were primarily models: Victorine Muerent. La Goulue. Far from pampered, indolent odalisques, these are sexy, tough, working-class women, often with backgrounds in the sex trade. Notable contrasts to the genteel girls who studied flower painting along with piano and embroidery, my archetypes were flamboyant, glamorous self-creations, unabashedly employing themselves as their own raw materials in a world that would give them nothing else. I too worked as an artist’s model. For an artist, the job is a paradox: you’re clay for someone else’s creation while longing to make your own. Read More »

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Festival Guide: A List of Don’ts for the Lady Music Writer

March 13, 2013 | by

Image via jennwinter.com

Image via jennwinter.com.

  • Don’t be fun. “Fun” is your former life. Now you are expected to responsibly imbibe all of the complimentary beverages available to you over the course of the ten hours (per day) you are attending live sets (even if they are stone boring), factoring in an extra two to three hours set aside for the after- and after-after-parties. If you insist on remaining fun, you should be sober, like, one-beer sober or recovering-alcoholic sober. And if you’re sober and not semifamous, be aware there is a forty percent chance that band people will be less inclined to chat with you. It’s all right; they’re going to give the hastiest interview possible. It’s a festival.
  • Don’t be a music journalist when you’re broke, even if it’s the primary way you earn income from your writing. Among other reasons, if you’re broke, you’ll drink the free alcohol. Too much of it, probably. Read More »

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Cougar Lit, Gender Confusion

August 20, 2010 | by

Is there a story or book that can shed light on whether a woman should sleep with men she doesn't love or know very well? Younger men, specifically? —A. Chesterfield

You're in luck! This is pretty much the animating question behind French literature of the last two hundred years, starting with Adolphe (no) and ending with The Sexual Life of Catherine M. (yes). No book puts the question more starkly than Colette's masterpiece, Cheri (yes and no: sex is tragic). Non-French novels have reached some memorable conclusions of their own. Good Morning, Midnight, for instance (sex is tragic: get me a drink), or The Piano Teacher (hell no). (But skip it and see the movie.)

Most novels, it has to be said, fall into the no column. The stories of Maupassant give one long resounding yes. You might begin with "A Country Excursion." This story shocked Tolstoy, with good reason—it is a cannon-blast against the nos. The movie version, Jean Renoir's A Day in the Country, is lighter hearted. And if light-hearted is what you want, check out the Hungarian Stephen Vizincey's 1965 novel In Praise of Older Women or Mario Vargas Llosa's linked bagatelles In Praise of the Stepmother and The Notebooks of Don Rigoberto (yes, yes, yes, yes, YES).

Read More »

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