October 21, 2014 On the Shelf Your Newspaper: Writer’s Cut, and Other News By Dan Piepenbring A handyman at the H. C. Johnson Grocery Store in Robertstown, Georgia, reads a newspaper, July 1975. Photo: National Archives “There’s an endless appetite among film buffs for the contents of the cutting-room floor. We’re forever being offered outtakes and alternative endings and ‘director’s cuts’ of movies. But what do newspaper editors excise from raw copy destined for the printed page? What would a ‘writer’s cut’ look like?” Area Novelist Super Pissed He Keeps Getting Compared to Cormac McCarthy: “This is testament to the McCarthy hegemony, to how wholly he dominates an entire sector of American fiction, and to how he has usurped our understanding of a certain literary pedigree. Write a novel with a specific poetical register adequate to the task of addressing nature and redemption, one which includes the sanguinary madness of men, and McCarthy is the artist languidly at hand for every reader itching to make a connection.” “It was difficult sometimes to eat lunch with Robert because his makeup was so realistic. His brains were hanging out of his prosthetics.” An oral history of A Nightmare on Elm Street. Photographers have found themselves “in the age of citizen Instagrammers, in which phones carry an endless roll of virtual film, and there are so many photos that we think we’re entitled to have them for free.” What to do? Litigate! Our poetry editor, Robyn Creswell, on the novels of the Lebanese writer Rabih Alameddine: “The heroes of his fiction are all misfits of one sort or another. They rebel against what they take to be the tyrannical conventions of Lebanese society—its patriarchy, its sexual norms, its sectarianism. In most of his novels this revolt takes the form of flight to America … In America, Alameddine’s characters discover that the pleasures of individualism often turn out to be empty, and their host country’s foreign policy, particularly its support for Israel, is a constant irritant. So their emigration is only ever partial; the old world haunts all their attempts at reinvention.”
October 20, 2014 Look Two Collages by Eugenia Loli By Dan Piepenbring Eugenia Loli, The Day TMZ Got Hold of Her Sex Tape, 2014, mixed media, 6″ x 8″. Eugenia Loli, Gardens Flower in Her Blooming Breath, 2014, mixed media, 8″ x 6″. See more of Loli’s work on Flickr and Tumblr.
October 20, 2014 From the Archive To Suit the Occasion By Robert Pinsky School of Martin Van Meytens, Coronation Banquet for the Holy Roman Emperor Joseph II in Frankfurt, 1764. In the spring of 2000, The Paris Review published an issue dedicated to poetry—dubbed, in fact, the Poetry Issue—including a series of prompts for poets and an essay by Robert Pinsky, who was then the U.S. Poet Laureate. Pinsky is seventy-four today; an excerpt of his essay, “Occasional Poetry and Poetry on Occasions,” follows. What does it mean that so many distinguished and gifted poets responded to the somewhat goofy games and assignments suggested by The Paris Review for this issue? Not just willingly, but with spirit, they have composed poems to strange titles like “An Empty Surfboard on a Flat Sea” and “Lavatory in a Cathedral,” written commentaries on worksheets—written, in other words, to suit the occasion. Occasions have elicited poems throughout history: coronations, birthdays, weddings, victories, executions, seductions (successful and unsuccessful), births, and deaths have their genres and great examples. Poems responding to specific circumstances have ranged from the agonized majesty of Yeats’s “Easter 1916” to the humblest good-humored verses produced for benign laughs at the office retirement party or a family anniversary. Donne wrote “the Anniversaries” on assignment and Marvell’s “Upon Appleton House” is the most gloriously entertaining in-group, after-dinner speech in the language. Does this play of talent in response to occasions and assignments tell us anything about the art of poetry? Many poets have been unwilling or unable to write on assignment, in response to circumstance but even their work has been used after the fact—quoted in speeches, inscribed in stone, read at the graveside or after the victory. (Anyone who writes or studies poetry can remember being asked for something suitable to be recited at a wedding or a funeral.) Occasional poetry is a reminder that poetry is related to speech a little bit in the way dance is related to walking: it is more playful, as well as more serious. Poetry’s medium is not merely light as air, it is air: vital and deep as ordinary breath. Read More
October 20, 2014 Our Daily Correspondent Rote Learning By Sadie Stein A postcard of the Bleecker Street IRT stop, 1905. “I’ve never seen the point of New York,” someone said to me last week, in a foreign city, upon learning that it was my hometown. I must confess to being nonplussed by this. I hadn’t fielded such an idiotic remark since middle school. Back then, I would have responded in kind with some nonsense—“Well, since it’s not pyramid-shaped, neither have I,” or something about John Stuart Mill, if I knew about him—but now this did not come so easily. Most of us have long since learned that there’s not much sport in breaking the fine-print clauses of the social contract. And most of us learn the hard way. My most shameful memory is of creeping around a tree, perhaps in second grade, at Reynolds Field, and hissing, “Candy is dandy, but liquor is quicker,” at a mystified five-year-old. I knew instantly that I had not conjured the mystery and allure I’d been going for; that I was, in fact, an ass. I have never admitted that before. I wonder if that kid remembers it. I really hope not. But now I am a grown-up. So I quoted to him one of the few things I know by heart: On any person who desires such queer prizes, New York will bestow the gift of loneliness and the gift of privacy. It is this largess that accounts for the presence within the city’s walls of a considerable section of the population; for the residents of Manhattan are to a large extent strangers who have pulled up stakes somewhere and come to town, seeking sanctuary or fulfillment or some greater or lesser grail. The capacity to make such dubious gifts is a mysterious quality of New York. It can destroy an individual, or it can fulfill him, depending a good deal on luck. No one should come to New York to live unless he is willing to be lucky. I finished. We stared at each other blankly. “That was E.B. White,” I said. “I meant it rhetorically,” he said.
October 20, 2014 At Work Being Discovered: An Interview with Calvin Tomkins By J. C. Gabel Gerald and Sara Murphy with Cole Porter and the Murphy’s friend Ginny Carpenter, in Venice, summer of 1923. Gerald had come to collaborate with Porter on their ballet Within the Quota. © Estate of Honoria Murphy Donnelly/Licensed by VAGA, New York, NY. In the late fifties, Calvin Tomkins, a longtime staff writer for The New Yorker, moved his family from New York City to a little community on the Hudson River called Sneden’s Landing. “The houses are built on the side of a hill fairly close together,” Tomkins told me by phone this past summer, “but in those days there were no real property lines. Everybody knew each other, and the kids wandered all over.” Tomkins’s two daughters, Anne and Susan, eventually found their way to Gerald Murphy, then in his sixties, pruning his rose garden. As kids do, they struck up a conversation with Gerald, and when Tomkins and his wife caught up with them, Sara, Gerald’s wife, emerged from the house, taking orders for ginger ale. “The Murphys didn’t talk about the past in those days, and it was some time before I realized they were the people F. Scott Fitzgerald had used as models for Dick and Nicole Diver in Tender Is the Night,” Tomkins wrote in 1998. In the twenties and early thirties, the couple, along with their three children, spent part of the year in the south of France, on the Riviera, and the rest of it immersed in the salad days of modernism and surrealism in Paris, where they had befriended, among others, Picasso and his first wife, Olga Khokhlova; Ferdinand Léger; Dorothy Parker; Cole Porter; the Fitzgeralds; the Dos Passos; and the Hemingways. It was a fascinating life, though shrouded in mystery and tragedy. Gerald Murphy with Picasso. © Estate of Honoria Murphy Donnelly/Licensed by VAGA, New York, NY. Tomkins urged Murphy to write a memoir, but Murphy “scoffed at the notion … he had too much respect for the craft of writing, he said, to attempt something which could only be second-rate.” Tomkins reported the piece instead. It was called “Living Well Is the Best Revenge,” a reference to the seventeenth-century poet George Herbert’s mordant epigram, which Murphy had once jotted down on a piece of paper. The piece ran in The New Yorker on July 28, 1962. By the time Tomkins had expanded it into a book, in 1974, “Gerald had been dead for ten years, and Sara, who died in 1975, was no longer aware of the world around her.” Fortunately, Tomkins was, and Living Well Is the Best Revenge remains one of the most ingeniously reported profiles of the Lost Generation, with the Murphys serving to illuminate the nearly century-old American expat scene that flourished in Europe between the two World Wars. The book had gone out of print until MoMA reissued it earlier this year in a beautiful flex-cover format. I spoke to Tomkins, who’s now eighty-eight, about the Murphys’ past, Gerald’s career as an artist, and his reporting for the book. Before you got to know them, did you know much about Gerald and Sara Murphy? I had heard about them. The Murphys were legendary because people knew vaguely about their life in Paris in the twenties, but nobody really knew them very well. They had a party a year, I think—a garden party with candles in paper bags. More or less the whole community was invited. But otherwise, they kept to themselves. We were all very curious about them. It seemed to us that we had these exotic creatures living in our midst. Read More
October 20, 2014 On the Shelf Hang Your Quiver on Your Wagon, and Other News By Dan Piepenbring An illustration of the Amazons from the Nuremberg Chronicle, 1493. In 1882, Walt Whitman and Oscar Wilde spent an afternoon together. They had some homemade elderberry wine and talked about how to be famous. And in 1817, Keats, Wordsworth, and Charles Lamb had dinner. Lamb said repeatedly, “Diddle idle don / My son John / Went to bed with his breeches on.” Winning the Nobel Prize causes an intense, nearly insurmountable euphoria. But according to Patrick Modiano, there is one way to magnify this sensation: by having a family member who hails from the same country that gives the prize. “It gave me even greater pleasure because I have a Swedish grandson … It’s to him I dedicate this Prize. It is, after all, from his country.” Historically, fiction has afforded writers the chance to break taboos—under the guise of the fictive, one can “talk about potentially embarrassing or even criminal personal experiences without bringing society’s censure on oneself.” So what happens when taboos fall away? “It could be we are moving towards a period where, as the writer ‘gets older’ … he or she finds it increasingly irrelevant to embark on another long work of fiction that elaborately reformulates conflicts and concerns that the reader anyway assumes are autobiographical. Far more interesting and exciting to confront the whole conundrum of living and telling head on, in the very different world we find ourselves in now, where more or less anything can be told without shame.” The sexual congress of the Amazons “was robust, promiscuous. It took place outdoors, outside of marriage, in the summer season, with any man an Amazon cared to mate with … The sign for sex in progress was a quiver hung outside a woman’s wagon.”