June 2, 2020 Arts & Culture American Refugee By Venita Blackburn In this American dark age we must all take a moment to travel through time. Dark ages are marked with violence, disease, economic and cultural erosion, scientific perversions as well as, surprisingly, technological advancements. Technology for violence and the science of war thrives in these periods while libraries shrink. Arts investments dwindle and our knowledge of history, both distant and immediate, fades. Some believe we are just now on the brink of a dark age, and yet those not invited to benefit from certain privileges of whiteness have been in one for centuries. The black American and the white American live in two bodies during the same hour with eyes that see vastly different shadows. Racism is an integral part of the American experiment. There is no more time or energy left to waste arguing that truth. Genocide of the indigenous peoples, enslavement of the African, abduction and incarceration of the Japanese American, exploitation of the modern undocumented immigrant and the current carceral state that grinds black and brown bodies into profit for private corporations is racial in design, an obvious and grotesque reality. That is the strategy of institutionalized national racism. Oppressed citizens of that nation possess no country. The land below them is controlled by the state, so they become nomadic and vulnerable to exploitation and abuse by delusional agents of the state. Black Americans have been citizens of a nation without a country for a very long time. I tell my students of fiction that every character must exist in three temporal realms: past, present, and future. Without that consideration, characters will feel inauthentic. This is a lie. We all know people who seem either cursed or just stupid, who flounder between the same bad choices again and again. It is as if they have no memory of their last bad relationship, no ability to recollect and learn and strategize differently. That kind of person has a past, of course, but refuses to see it. When we deny our past we erase our experiences, our knowledge of what is possible. The only people that have no past and no experiences are children. Denial of the past means you have to think as a child thinks, act as a child acts, relegating one’s daily existence to the surprise of a child. The infantilization of the American psyche is essential to perpetuating grotesque institutional structures that require the suffering of many to pay the debt of power to very few. Yet, it is human nature to fantasize about the past. To live in history with judgment, whether it is reverie or regret, is dangerous. I will not evoke any adages of wisdom or recount the overwhelming narratives of police violence because the hour calls for imagination, not nostalgia. Nostalgia is a paralytic curse as productive and healthy as consuming the meat and wine of a dream. We don’t need to dine with ghosts. That brings us to the present. When people live only to judge the past, the present body is neglected, left to rot. And yet, when they turn fully away from the past, ignoring it entirely, they are subject to incarnations of old traumas. When we carry the past objectively into the present with honesty, our memories become assets. A nation must remember its whole history fully without judgment to guard against reliving previous horrors. This kind of relationship with the past also prevents mistaking history for destiny. I’m a very spiritual person. I know that we are all the same spiritually, yada yada, but the physical body has rules. The body must be protected and honored as sacred. The nomadic black American body is in jeopardy. She has been bound and hunted for centuries, her pain has become commodified into an operatic spectacle for the world to despair and consume. Those witnessing the protests across this nation are splitting in various factions. Some support the protesters but not the looters. Some support the police but not the president. There are those who want to be neutral, nonparticipatory, refusing to believe the truth that their own bodies are intrinsically knitted to the fate of us all. The rest say let the thing burn and drown the ashes. Just maybe they are all right? What if we must try everything? Read More
June 1, 2020 The Art of Distance The Art of Distance No. 11 By The Paris Review The Paris Review opposes racism and violence—both the recent, bold-faced demonstrations of police brutality, and the structural injustice that has been present in our nation since its founding. We are committed to being a part of the change: we will work with our writers, our readers, and our team to make publishing a more equitable, dynamic, and creative place. We believe language opens paths to truth and justice. This week we are sharing several Writers at Work interviews with Black authors who have provided us—and generations of readers—guidance and inspiration, and are distributing a list of resources for those affected by the crisis. —The Paris Review This week we are highlighting some of the Black American voices in our archive and have unlocked the following interviews: James Baldwin, the Art of Fiction No. 78 “I think that it is a spiritual disaster to pretend that one doesn’t love one’s country. You may disapprove of it, you may be forced to leave it, you may live your whole life as a battle, yet I don’t think you can escape it.” Read More
May 29, 2020 This Week’s Reading Staff Picks: Gabbert, Guzzler, and Greene By The Paris Review Elisa Gabbert. Photo: © Adalena Kavanagh. Elisa Gabbert’s The Unreality of Memory is one of those books that send you to your notebook every page or so, desperate not to lose either the thought the author has deftly placed in your mind or the title of a work she has now compelled you to read. The essays encompass sickness and trauma, anesthesia and memory, politics and political apathy, but owing to the force of Gabbert’s attention, the book remains determinedly cohesive. Written before COVID-19 altered all our lives so irretrievably, it is also a work of uncanny prescience. With this chronology in mind, it is difficult to know what to make of the following: “Many experts think the most likely culprit of a future pandemic is some version of the flu; flus are common, highly contagious, and especially dangerous when there’s a new strain to which people have limited immunity.” Or this: “I wonder if the way the world gets worse will barely outpace the rate at which we get used to it.” Or this: “How can it be so, that I have to waste my life this way, when the world is ending?” Even chloroquine (a cousin to hydroxychloroquine) and Anthony Fauci make appearances, long before these names were known to the rest of us. I wonder if Gabbert may be working on an update before The Unreality of Memory hits the shelves this August, though, in a way, I hope she isn’t. As it stands, the book somehow manages to be a germane contribution to today’s—and tomorrow’s—conversations while still existing as an uneasy cultural artifact of a time just recently past. —Robin Jones Read More
May 29, 2020 Arts & Culture The Only Believers By Susanna Crossman Paint brushes and watercolor paints on the table in a workshop, selective focus, close up “In the Universe, there are things that are known, and things that are unknown, and in between them, there are doors.” —William Blake Psychiatrist Daniel Siegel explains how the brain is like a folded hand. A fist. The thumb against the palm represents the limbic regions, brain zones dealing with emotions, stress. The folded fingers are the cerebral cortex, which help with rational thought and regulating moods. The fingernails are the prefrontal cortex, the part of the brain used for decision making, ethics, and morality. All these zones work together as a team. Faced with panic, the fingers spring up, we lose rationality, ethics, and are left with our emotions. We often rely on our basic instincts: fight, flight, or freeze. We may feel disorganized, unable to concentrate or make decisions, suffer from mood swings, frustration, and bouts of adrenaline. The trick is to find a way to bring those fingers down. Keep everything connected. We’ve been in confinement in France for over two months. Here in Brittany, under lockdown, when I’m not writing or online lecturing, I’ve been working as a clinical arts therapist. Three days a week, I leave the cherry tree blossoming in our garden and head along empty roads to a psychiatric hospital. On the car seat to my right is the file I dutifully compiled the first day of confinement. It contains my regulatory paperwork, proving my right to leave my house, forms ticked and completed: name, date of birth, address, hour of departure, arrival. A photocopy of my passport. A stamped document from my employer. Everything is signed. Read More
May 28, 2020 Arts & Culture Les Goddesses By Moyra Davey John Opie, Mary Wollstonecraft, ca. 1797, oil on canvas, 30 1/4 x 25 1/4″. Public domain, via Wikimedia Commons. A young Englishwoman named Mary Wollstonecraft lived by her wits and her pen. At thirty-four, Mary did not expect to marry, but she soon met an American adventurer named Gilbert Imlay and believed she’d found her soul mate. In love, they moved to Paris where they had a daughter, named Fanny. But Gilbert began to travel more and more, and soon it became apparent he had a wandering eye as well. Heartbroken over this desertion, Mary drank laudanum. She survived, but within a matter of months was despondent again and jumped from a bridge into the Thames. Miraculously she was rescued and nursed back to health by William Godwin, like Mary a political radical, to whom she quickly developed a strong attachment. Later married and happy, they read Goethe’s The Sorrows of Young Werther aloud together the night before she went into labor. Tragically, Mary died a few days after giving birth to a second daughter, also named Mary, who would be raised, along with Fanny, by William Godwin, who would remarry. His new wife had a young child of her own, Claire, and the three girls grew up as sisters; they became known as Les Goddesses. When Mary was seventeen, a famous poet named Percy Bysshe Shelley came courting: he first paid favors to Fanny but quickly fell for Mary and the two eloped to the Continent, taking Claire with them. Fanny, crestfallen, stayed behind and, like her mother, drank laudanum. The real story concerning the lives of these extraordinary women is filled with many paradoxes, and without a doubt it is more fantastic than any fiction. Read More
May 28, 2020 Re-Covered More Than Just a Lesbian Love Story By Lucy Scholes In her monthly column, Re-Covered, Lucy Scholes exhumes the out-of-print and forgotten books that shouldn’t be. “Shameless” and “unpublishable”—this was the reaction of her publishers when the Dutch writer Dola de Jong first submitted her novel The Tree and the Vine (De Thuiswacht) in 1950. Four years later, it made it into print, thanks in large part to the backing of prominent literary figures such as the Dutch poet Leo Vroman and the Belgian writer Marnix Gijsen, both European exiles living in America (as was de Jong by this point in her life). She also had the support of renowned New York editor Maxwell Perkins, the man who’d discovered both F. Scott Fitzgerald and Ernest Hemingway, and who’d published de Jong’s And the Field is the World (1945), the story of a young Jewish couple who flee the Netherlands for Morocco on the eve of the Second World War. What made The Tree and the Vine so shocking was its candid depiction of queer desire. It follows two young women in Nazi-occupied Amsterdam in the late thirties: Erica, a rash and impatient fledgling journalist who doesn’t live by anyone else’s rules, and the much more guarded, inhibited Bea, the narrator of the tale. De Jong’s publisher’s concerns were predictable. A bold and groundbreaking work, The Tree and the Vine caused a stir, both in Holland when it was first published, and then later again when it was translated, by Ilona Kinzer, into English and American editions, in 1961 and 1963 respectively. Though it clearly struck a chord with many readers—de Jong, it was said, received piles of fan mail from married women who questioned their life choices after reading it—its nuances were lost on many. As Lillian Faderman explains in her afterword to the Feminist Press’s 1996 reprint, a reviewer writing in The Statesman and Nation (May 12, 1961) was “unable to appreciate the book’s subtleties and larger meanings.” A new translation, by Kristen Gehrman, published this month by Transit Books, hopes to appeal to a broader readership today. As Gehrman argues, it’s a novel that deserves to be appreciated as something more than just a tale of war, or a lesbian romance. Though the Statesman and Nation’s reviewer describes the novel as a portrait of “exotic vice,” “compulsive sin,” and “sexual pervert[s],” by today’s standards, de Jong’s depiction of lesbian love really couldn’t be any tamer. This is not a book that titillates; its emphasis instead is on the pain and damage caused by repressed desire. Although they have their more theatrical moments, on the whole Erica and Bea are far from histrionic. As Faderman reminds us, though, the reviewer is using “cliché terms […] characteristic of cover copy for the lesbian pulps of the era.” Read More