April 28, 2015 On the Shelf Letter from Dhallywood, and Other News By Dan Piepenbring From “Love Me or Kill Me,” via Slate. It must be said: in this, his bicentennial year, Trollope is trending—and not just because, as we mentioned yesterday, one of his books is soon to become a TV show. “The quality of irony that we value today is omnipresent in Trollope—and that is the habit of turning objects and values upside down, of seeing big and little inverted. Trollope’s people are all doing things that are small: getting on committees, making sermons, writing to newspapers, finding misplaced checks.” More than that: Trollope has saved lives. Lives. “To this day [I] credit him with saving me from a nervous breakdown. Reading English at university I’d forgotten what it was to read for pleasure … When I stumbled upon his work, I was looking for a way to understand the world, particularly 1980s London. The ideals—some might say delusions—of the counterculture were being replaced by an enthusiasm for money, efficiency and snobbery, especially among my generation. The people and problems Trollope described seemed then, as now, astonishingly contemporary.” Sarker Protick’s series of photographs, “Love Me or Kill Me,” captures film sets at the Bangladesh Film Development Corporation, where the movies are “exercises in extremes, made quickly and with small budgets to appeal to the widest possible audience.” An interview with Tim Parks on reading, translating, and difficult writers: “An American author actually doesn’t have to think about anything. He can just write and think for years for Americans—and in fact, everybody’s becoming Americans … But if you’re in Holland, Norway, Sweden, even Italy, to a degree, then apart from the fact that you’ve grown up with the idea that lots of books came from other places and so there’s no reason my book shouldn’t go to other places—and apart from the fact that the number of people buying books in your country is much smaller—your chances of surviving on a book that’s totally in Italy is very small. There’s just a tendency to look outward more.” Write a House, the extra-extra-extended residency program in which writers are awarded a house, forever, in Detroit, is accepting its next round of applicants. An inside tip from the last winner: “If you’re considering applying and you’re thinking to yourself, ‘I want to, but it’s in Detroit’—don’t apply. If you don’t want to live in Detroit, or Detroit’s reputation scares you, don’t apply to win a house in Detroit. It’s pretty simple. If you’re not prepared to embrace Detroit for everything it is, you’re going to have a hard time being here.”
April 27, 2015 Books On a Pedestal By Brian Mastroianni Duras’s The Lover, thirty years later. A young Duras on the cover of The Lover. Early in Marguerite Duras’s The Lover, we encounter an indelible image: a strange rag doll of a girl rides the ferry across the Mekong River en route to Saigon. She’s an adolescent, fifteen and a half, and she looks both too young and too old for her age, in a sleeveless, low-cut, red silk dress, a leather belt that belongs to one of her older brothers, gold lamé shoes, and—the most striking piece of her ensemble—a large, flat-brimmed men’s hat: Having got it, this hat that all by itself makes me whole, I wear it all the time. With the shoes it must have been much the same, but after the hat. They contradict the hat, as the hat contradicts the puny body, so they’re right for me. That elliptical, dreamlike tone is characteristic of the novel. The book’s narrator is a young woman in flux. She’s outgrown childhood and has poured her body into oversize markers of adulthood; the conclusion of the ferry ride signals the start of her sexual awakening, as she first glimpses the chauffeured black limousine that belongs to the twenty-seven-year-old Chinese businessman, the novel’s eponymous lover. The Lover, Duras’s forty-eighth work, was published in France in 1984; the English translation arrived in the United States a year later. If the book, at just over a hundred pages, reads like the hazy, disconnected musings of a seventy-year-old writer looking at faded snapshots of her past, that’s because it is. When Duras claimed that the novel was entirely autobiographical, it became something of an international sensation. But, as the New York Times noted, “truth, in the Durasian universe, is a slippery entity”; Duras also went on to say “that the story of her life did not exist.” She and the novel found even more notoriety a decade later, when Jean-Jacques Annaud’s film adaptation was released. Duras eventually washed her hands of the film, which focused mainly on the erotic elements of the story—and indeed the novel’s depictions of sex receive an outsize portion of attention. But it’s also a study in the narrator’s fraught connection with her family and the cultural fissures in French-colonial Indochine. Read More
April 27, 2015 Our Daily Correspondent The Talking Cure By Sadie Stein Commuters in Lower Manhattan, 1973. Urban life is full of glorious opportunities to hear people talking to themselves. I don’t mean mentally ill people; it doesn’t delight me to see somebody visibly ill. No, what I mean is the triumph of unself-consciousness that you can regularly witness on the streets, where all of us reliably utter short, throwaway remarks to no one in particular. We don’t do this for others’ benefit, but when someone else overhears such a remark, everything comes together and harmonizes and, for all the world, it’s as if life has a narrator. E.g.: Read More
April 27, 2015 The ‘Mating’ Book Club 6: “A Craving for Silence” By Tim Horvath From “Kang” through “Music,” pp. 116–140 This is the sixth entry in our Mating Book Club. (Sorry for the wait!) Read along. This latest portion might be dubbed “The Critique of Pure Boredom,” especially given that our narrator name-drops Kant in the midst of it. Early on, she declares, “One attractive thing about me is that I’m never bored, because during any caesura my personal automatic pastime of questioning my own motives is there for me.” Lest we doubt her, she goes on to wonder whether the journey she intends to undertake to Tsau is the byproduct of certain deep unconscious maternal longings, or something else. She dismisses any neo-Darwinian and Freudian interpretation of her behavior, wrangles with the question of that behavior in relation to Denoon’s childlessness (interesting, she notes), and the overpopulation problem, plus her sympathy for abandoned children globally. And she winds up wanting her decisions in the realm of relationships to be not only deliberate, but “deliberative,” which is where Kant enters into it. Slow and steady. Yet in the world outside her head, she’s on a flatbed truck that’s flying at hair-raising speeds for 250 miles, with cornmeal, mail, and a “fiendish shavenheaded adolescent at the wheel.” Read More
April 27, 2015 On the Shelf Trollope on the TV, and Other News By Dan Piepenbring An illustration from Trollope’s Barchester Towers, which precedes Doctor Thorne in his Chronicles of Barsetshire series. Rachel Kushner, Francine Prose, Peter Carey, and at least three other prominent writers have declined to attend the PEN American Center Gala on the grounds that it honors Charlie Hebdo, known for its scathing portrayals of Muslims and “the disenfranchised generally.” “I couldn’t imagine being in the audience when they have a standing ovation for Charlie Hebdo,” Prose said. Julian Fellowes, of Downton Abbey fame, has announced plans to adapt Trollope’s 1858 novel Doctor Thorne for television. Love, real estate, alcoholism—this novel has it all. No word yet on who will play the Duke of Omnium. If Silicon Valley scuttlebutt is right, “snackable content”—bite-size morsels of dubiously nutritious entertainment—is now the most popular stuff on the Internet. What we ought to do, then, is start to serialize novels again. “Publishers could release novels—either completed upfront or written month to month—on their own imprints or through periodicals such as People or The Paris Review.” (We can’t speak for People, but we’ve serialized two novels in the past few years, and we don’t intend to stop.) Young writers get all the attention—and, more important, all the awards. But “age-based awards are outdated and discriminatory, even if unintentionally so. Emerging writers are emerging writers.” Earlier this month, Adrienne Raphel wrote about the history of “Eeny, meeny, miny, mo” for the Daily—now she’s spoken to NPR’s “All Things Considered” about it. Davide Monteleone, an Italian photographer, is working on In the Russian East, a series of “faces and uniforms” taken along the Trans-Siberian Railway—and a tribute to Richard Avedon’s 1985 book In the American West.
April 24, 2015 This Week’s Reading Staff Picks: Man-boys, Musicals, Multimillionaires By The Paris Review From the cover of Sphinx. “In one corner of the room there was a television, and I find it difficult to avoid a television—not because I am so intent on the game shows and confessions, but just because a moving image is very difficult to ignore. If I’m trying to read on one of those ancient planes where they silently display the film on a screen at the front, I keep looking up at it and losing my concentration, just as in the airport lounge already I will have been distracted by the silent news, and the mini frenzy of its montage.” Usually when we say that something sounds like a translation, it’s a bad thing, but Adam Thirlwell’s new novel Lurid & Cute sounds like brainy colloquial English translated into some slightly brainier (more formal? more poetic? more European?) idiom. We don’t go around talking about “ancient planes” or “the game shows and confessions,” but Zeno might. That interplay between banality and beauty—between the merely cute, or merely lurid, and deep ironic observation—kept me hurrying back to the book. It is, as James Wood might say, “unreliably unreliable”—either a parody or else the end point of a certain kind of wide-eyed man-boy narrator, like Jonathan Safran Foer on crystal, with a gun. —Lorin Stein “The incident was really quite typical, but still curious … And that’s all.” Most of Daniil Kharms’s writing could be summed up this way—this is, in fact, the way he began and ended a certain forty-five-word story. Several of his stories end with “And that’s it, more or less” and plenty more do so in spirit. They’re so casually, almost indifferently, related that they read like fables—inexhaustible, with an underlying wisdom or moral that, in the case of Kharms’s work, is difficult to pinpoint. That’s because, as Ian Frazier points out in his wonderful recent essay in The New York Review of Books, Kharms’s work falls into a “subgenre of cheerfully moronic writing” that rejects any form of rationality. It’s a kind of humor that can easily get lost in translation (or not—I wonder how many Russians get it). Frazier’s piece sent me running back to my own copy of Today I Wrote Nothing, a selection of Kharms’s writing. I find that reading his prose and poetry requires a kind of release, a letting go of expectations and a faith that the nonsense will pay off. And it does. A man pummels another man with his dentures. A man meets another man who’s bought bread. A succession of women fall out the window until the narrator gets tired of watching. And that’s it, more or less. —Nicole Rudick Read More