April 29, 2015 Our Daily Correspondent World Dream in Six Words By Sadie Stein If you look at the trending hashtag #WorldDreamin6Words you’ll see such tweets as: “Less ‘Them’ and ‘They’, more Us.” And “No More Violence in the Streets.” And “Self love and acceptance for all.” And “Ending the Stigma on Mental Health.” And “We all get a hamburger today.” And “A world free of animal abuse.” And “Love each other NOT imaginary dictators.” And (from the same person) “International Casual Friday with Keg Parties.” “Ham, eggs, and corncob pipes for everyone.” (That last one is from “Mark Twainz.”) Read More
April 29, 2015 At Work Good World to Be In: An Interview with Lisa Yuskavage By Thomas Gebremedhin Lisa Yuskavage in her studio, Brooklyn, New York. Photo by EJ Camp, courtesy the artist and David Zwirner, New York/London Since her arrival on the art scene some twenty-five years ago, Lisa Yuskavage has made a name for herself with paintings that use classical techniques to depict unabashedly taboo subjects. Her creations—awash in radiant, hallucinatory colors and featuring hedonistic heroines unlike anything else in art today—are instantly identifiable. Her latest show, which opened last week at David Zwirner in New York, explores the idea of the incubus and succubus, and includes images of men—Dude Looks Like Jesus, for instance—a first for the artist. “I was thinking a lot about Dürer,” she says. “There’s this obsession with a certain look, which has to do with a revolutionary kind of guy.” I met Yuskavage, who is fifty-two, at her spacious Brooklyn studio earlier this month, where our talk touched on a variety of subjects, including her process, her past, and her experimentation with Grindr, the gay dating app. We’d intended to take a trip to her favorite bookstore, Ursus Books, afterward, but we stayed at her studio instead, conversing as pale yellow light crept along the floor. When critics discuss your work, they talk a lot about gaze—whether the figures depicted are inviting us to look or whether we’re intruding upon something private. It’s interesting because in order to make some of these paintings of men, I did something a few years ago—I didn’t realize why I was doing it at the time. I joined Grindr. I had a Grindr persona. You didn’t think I was going to say that today, did you? Do you remember your username? I don’t remember, but I eventually took it down when I almost hooked up with someone. I met someone by accident. My husband has a very nice body, and I took a picture of his torso. He had pants on. I didn’t want to be that vulgar, because I didn’t want to present myself as being just interested in sex. So I was at Le Pain Quotidien on Bleecker Street having my stupid vegan soup. I was looking at Grindr and imagining the Dionysian possibilities of life. It seemed like the air was full of sex. Not just sex, but hopefulness. Then I see that there’s someone who, whatever you call it, poked me or tapped me. He was ten feet away. I was like looking around and then I saw someone looking around. He was looking for me, and he couldn’t find me because I didn’t exist! Read More
April 29, 2015 On the Shelf Goya’s Gallows Humor, and Other News By Dan Piepenbring Francisco Goya, Wicked Woman, 1819–23. Via NYRB When he was in his early seventies and gravely ill, Goya began a series of private drawings, full of piss and vinegar and intended to amuse his friends—among them were pictures of naked witches, newborn babies tied to poles, and a procuress fingering her rosary and slugging some rotgut. “The captions are minimal: ‘Monk,’ ‘Nothing is known of this,’ ‘I can hear snoring’ … Goya’s drawings may leave us up in the air, filled with a disquieting unease. Yet in the end, the witches and old people are tokens of life, not death—even the tired, ancient man shuffling on his sticks, mockingly captioned Just can’t go on at the age of 98.” By piecing together years of letters, diaries, and newspapers, one scholar believes she’s discovered the man who inspired Pride and Prejudice’s Mr. Darcy. She noted, for instance, “that the physical similarities between the Earl and the description of Darcy are ‘obvious,’ with the former looking ‘very intense.’ ” An airtight case. In Park Slope, Brooklyn, for thirty-five years, a gated storefront hid an artist’s studio. “Behind the black gate was a world of color, hundreds of abstract works created and hidden away by Mr. [Leo] Bates, who had a promising start as a painter in the 1970s before renouncing the art world and retreating to his storefront to paint.” Eight rare books, including one by Benjamin Franklin, had long-ago disappeared from the New York Public Library. A woman who recently tried to sell them to an auction house “said the books have been in her family for decades, and there’s no proof that her late parents obtained the books illegally.” Everyone loves a good sentence—and clauses, subordinate or not, are beloved throughout the land—but what of the paragraph, that other indispensible unit of prose? Why do we speak so often of “a great writer of sentences” and so rarely of “a great writer of paragraphs”?
April 28, 2015 Events The Norwegian-American Literary Festival Comes to New York By Dan Piepenbring Knausgaard’s band, Lemen. You may have noticed a Knausgaard theme on the Daily today, between our interview with his translator Don Bartlett and Ian MacDougall’s probing analysis of the author’s scatological side. We’re celebrating the release of My Struggle’s fourth volume—but we’re also celebrating the latest Norwegian-American Literary Festival, a series of readings, conversations, and musical performances coming to New York for three nights next month. The festival begins on Wednesday, May 20, at the Westway in the Meatpacking District, where Karl Ove Knausgaard’s reunited college band, Lemen, will take the stage. James Wood’s band, the Fun Stuff, will perform, too, and Lydia Davis will begin the night in conversation with Dag Solstad about writing family history. Solstad is one of Norway’s preeminent writers, the author of thirty-three books translated into thirty languages. Davis learned Norwegian by reading his latest novel, a four-hundred-page epic whose title translates, roughly, as The Insoluble Epic Element in Telemark in the Period 1591–1896. Read More
April 28, 2015 Our Daily Correspondent Almond Joy By Sadie Stein From a 1905 sheet-music cover. “That parrot,” he said at last. “You know something? It had me completely fooled when I first saw it through the window. I could have sworn it was alive.” “Alas, no longer.” “It’s most terribly clever the way it’s been done,” he said. “It doesn’t look in the least bit dead. Who did it?” “I did.” “You did?” “Of course,” she said. “And have you met my little Basil as well?” She nodded toward the dachshund curled up so comfortably in front of the fire. Billy looked at it. And suddenly, he realized that this animal had all the time been just as silent and motionless as the parrot. He put out a hand and touched it gently on the top of its back. The back was hard and cold, and when he pushed the hair to one side with his fingers, he could see the skin underneath, grayish black and dry and perfectly preserved. “Good gracious me,” he said. “How absolutely fascinating.” He turned away from the dog and stared with deep admiration at the little woman beside him on the sofa. “It must be most awfully difficult to do a thing like that.” “Not in the least,” she said. “I stuff all my little pets myself when they pass away. Will you have another cup of tea?” “No, thank you,” Billy said. The tea tasted faintly of bitter almonds, and he didn’t much care for it. “You did sign the book, didn’t you?” “Oh, yes.” “That’s good. Because later on, if I happen to forget what you were called, then I could always come down here and look it up. I still do that almost every day with Mr. Mulholland and Mr. … Mr. …” “Temple,” Billy said, “Gregory Temple. Excuse my asking, but haven’t there been any other guests here except them in the last two or three years?” Holding her teacup high in one hand, inclining her head slightly to the left, she looked up at him out of the corners of her eyes and gave him another gentle little smile. “No, my dear,” she said. “Only you.” —Roald Dahl, “The Landlady” We all know that cyanide tastes like almonds. If something is almond-y, and you’re somewhere sinister, well, mister, look out! You’ve been poisoned. I first learned this from the Dahl story cited above–or, more accurately, from the episode of Alfred Hitchcock Presents based on the story. But generally, one assumes, writers only know this themselves via hearsay. They know—like the rest of us—that cyanide smells like “bitter almonds.” As one article explains it, “in murder mysteries, the detective usually diagnoses cyanide poisoning by the scent of bitter almonds wafting from the corpse.” In its pure form, cyanide apparently does have an almond-like scent—and this makes sense, since the toxin is found in the wild form of the nut. Read More
April 28, 2015 Arts & Culture Mein Scheisse By Ian MacDougall Knausgaard’s fecal fixation. Gesina ter Borch, Kinderen die hun behoefte doen (Children Relieve Themselves), ca. 1650. “I’ve been reading Knausgaard,” I’ve heard on more than one occasion, over this Scandinavian-grade winter, from a friend across a barroom table. And a few minutes into the conversation, almost inevitably: “There’s this part in the third book about taking a shit … ” It came as no surprise that my friends wanted to talk My Struggle, the Norwegian novelist’s opus on the everyday in six volumes. (The fourth is out in English translation today.) But the number of those friends who zeroed in on Knausgaard’s excretory musings was another matter. And it’s not just My Struggle. The subject reemerged earlier this year when The New York Times Magazine published “My Saga,” Knausgaard’s two–part North American travelogue, in which a jaunt on the john in a Newfoundland hotel leaves him with a hopelessly clogged toilet. He recounts the aftermath at length. The episode was at the center of Knausgaard talk. Lest readers think this focus is a factor of the company I keep—that I surround myself with prudish types offended by bathroom scenes, fetishists attracted to them, or the scatological-humor crowd—I direct them to James Wood, a critic at a venue no less proper than The New Yorker. In an interview with Knausgaard published in the Winter 2014 issue of The Paris Review, Wood says, Read More