December 1, 2014 Our Daily Correspondent Hard and Fast By Sadie Stein Don’t ask. (From the V Squared ad.) If, by any chance, you read the print edition of the Sunday New York Times, as I did around two in the morning, perhaps you, too, were arrested by the full-page advertisement on A23. 11-YEAR-OLD, TWIN ROCKERS, VITTORIO AND VINCENZO OF V² SWEEP LOS ANGELES MUSIC AWARDS! blares the headline. There are seven accompanying photographs. “V² rocked the Avalon Theater, leaving no doubt that they owned the night and their 7 nomination categories,” reads one caption. “Standing ‘O’ for Vittorio and Vincenzo, 11-year-old superstars!” says another. The picture is of a bunch of grown-ups; one of them is sort of standing up. The text is laid out like a news story: Rock N Roll history was made by Santa Rosa, CA home grown rock sensations, Vittorio and Vincenzo of V² (pronounced V Squared). The boys, who only started playing music a few years ago at Rock Star University, Santa Rosa, became the youngest artists to ever perform at the Los Angeles Music Awards, thrilling the sold out crowd of Hollywood celebrities, music industry executives, and music fans lucky enough to secure a ticket to see these future Rock N Roll Hall of Famers perform. Vittorio and Vincenzo did not disappoint. Who are these future rock-and-roll hall of famers? Who are their parents? What’s Rock Star University—and who had they beaten out for LA Music Award domination? Naturally, I switched on my phone to find out. After all, by this hour, I assumed, this weird vanity project would have at least put a dent in the Internet. Read More
December 1, 2014 Arts & Culture Still Weird on Top By Michael Bible Barry Gifford’s novels find a new generation of readers. Barry Gifford’s novel Wild at Heart turns twenty-five this year. It tells the story of Sailor and Lula, two young lovers on the lam, driving their ’75 Bonneville convertible toward a better life but finding the violent reality of America instead. David Lynch saw something intoxicating in their pure, honest love. “I wanted to go on that trip,” he wrote. “It was like looking into the Garden of Eden before things went bad.” He asked Gifford to cowrite the screenplay. The film, starring Nicolas Cage and Laura Dern, won the Palme d’Or at Cannes and launched Gifford’s novel onto the best-seller list. Earlier this month, a sold-out audience crowded into a theater at the Anthology Film Archives to see an X-rated cut of Wild at Heart. (It was the European edition, which features some ten extra seconds of sex deemed too explicit for the U.S. audiences of 1990.) Before the screening, Gifford read from his next novel, The Up-Down, a continuation of the Sailor and Lula saga in which the couple’s son, Pace, embarks on a spiritual quest for the mysterious fifth direction, the “up-down.” Gifford has lived a life in miles instead of years. He’s never in one place too long, but during moments of cultural upheaval, he has found himself, with an almost Forrest Gump–like serendipity, in the right place at the right time. An autodidact, he’s published poetry, fiction, memoirs, biographies, plays, and screenplays. He turned sixty-eight this year; The Up-Down will be his twentieth novel and his fifty-seventh book. Next year, a new play of his will premiere in New York and a film he wrote will begin shooting in Brazil, with Willem Dafoe as the lead. At Sarabeth’s in Tribeca, I sat down with Gifford for breakfast the morning after the screening. He joked about the youthful audience, many of whom were younger than the book. “Millennials are discovering Wild at Heart for the first time,” he said. “I’m not quite sure they knew what they were in for.” The Up-Down is, Gifford claimed, the final chapter in the Sailor and Lula story, a story Gifford has told over the course of a quarter century. The collected Sailor and Lula saga runs nearly eight hundred pages and comprises Gifford’s magnum opus, full of recurring characters and settings that center around the titular couple. Read More
December 1, 2014 Bulletin Announcing Our Winter Issue By The Paris Review That photo on the cover comes from Marc Yankus, whose subject is New York buildings: “I can feel the brick, I can feel the hardness and the corners of the building … the structure, the monolith, the sculpture, the abstract.” In the Art of Memoir No. 2, Vivian Gornick talks about feminism, bad reviews, love versus work, and coming to terms with failure: I knew I had to stay with it as long as it took to write a sentence I could respect. That’s the hardest thing in the world to do—to stay with a sentence until it has said what it should say, and then to know when that has been accomplished. And in the Art of Screenwriting No. 5, Michael Haneke reveals the imaginative process behind movies like The White Ribbon and Amour—and why there are no “right” readings of his films: I would never set out to make a political film. I hope that my films provoke reflection and have an illuminating quality—that, of course, may have a political effect. Still, I despise films that have a political agenda. Their intent is always to manipulate, to convince the viewer of their respective ideologies. Ideologies, however, are artistically uninteresting. I always say that if something can be reduced to one clear concept, it is artistically dead. There’s also a special triple feature on Karl Ove Knausgaard, with an exclusive excerpt from My Struggle, Book 4; an essay on depression and Dante’s hell; and an exchange with The New Yorker’s James Wood on masculinity and good reasons for writing badly. Plus new fiction by Joe Dunthorne, Ottessa Moshfegh, Sam Savage, and Saïd Sayrafiezadeh; poems from Sylvie Baumgartel, Jeff Dolven, Cathy Park Hong, Phillis Levin, Jana Prikryl, Frederick Seidel, and Brenda Shaughnessy; and a series of aphorisms by Sarah Manguso. Get your copy now. And may we add that a subscription to The Paris Review makes a great present? The recipient will receive a postcard announcing your gift with your personal message. Just select the “gift” option when you check out.
December 1, 2014 On the Shelf American Grotesque, and Other News By Dan Piepenbring William Mortensen’s L’Amour (1932) doubles as the cover of a new book about him, American Grotesque. Don DeLillo rereads his own opus, Underworld, seventeen years after its publication. (“Great fucking line,” he’s written next to “The subway seals you durably in the stone of the moment.”) In the thirties, William Mortensen was one of the most celebrated photographers in the nation—his pictures were “unabashedly theatrical, bizarre, and often louche.” What sank his reputation: a critical tiff with Ansel Adams. The Chinese State Administration for Press, Publication, Radio, Film and Television has moved to ban wordplay “on the grounds that it breaches the law on standard spoken and written Chinese, makes promoting cultural heritage harder and may mislead the public—especially children.” (An example of the now forbidden fruit: “replacing a single character in ke bu rong huan has turned ‘brook no delay’ into ‘coughing must not linger’ for a medicine ad.”) While we’re on censorship: In the quest for G-rated moon landings, NASA used to go to great lengths to scrub astronauts’ profanity from its transcripts. In the case of one particularly salty spaceman, they went further—they had him hypnotized. “A psychiatrist put the idea in his head that he would rather hum when his mind wandered.” On the history of fairy tales: “In the coded language of symbol and metaphor they chart the journey from childhood to adulthood. The Russian commentator Eleaser Meletinksji wrote, ‘It is even possible to say that the fairy tale begins with the break-up of one family and ends with the creation of a new one.’”
November 30, 2014 In Case You Missed It This Week on the Daily By Dan Piepenbring Max Slevogt, Der Sänger Francisco d’Andrade, Zeitung lesend, 1903. “I am writing from a place you have never been, / Where the trains don’t run, and planes / Don’t land … ” Remembering Mark Strand. * Justin Taylor talks to Shelly Oria about her new book, New York 1 Tel Aviv 0. “What I’m trying to do, not only as a writer but as a human—is challenge this idea of either-or, hang out a bit in the in-between space.” * Paul Muldoon rereads his first book of poetry, 1971’s Knowing My Place … * … And Alec Soth annotates his monograph Niagara, including new photographs. * “You can look at a piece of mine and think that it’s a benign exploration, but I like to think there’s an edge underneath it all in terms of certain commentaries on relationships.” An interview with Gladys Nilsson. * Plus, Sadie Stein on Thanksgiving traditionalists, and Simon Rowe’s winning entry from our Windows on the World contest.
November 29, 2014 In Memoriam Mark Strand, 1934–2014 By Dan Piepenbring A manuscript page from “A Piece of the Storm,” a poem from Blizzard of One. When I read poetry, I want to feel myself suddenly larger … in touch with—or at least close to—what I deem magical, astonishing. I want to experience a kind of wonderment. And when you report back to your own daily world after experiencing the strangeness of a world sort of recombined and reordered in the depths of a poet’s soul, the world looks fresher somehow. Your daily world has been taken out of context. It has the voice of the poet written all over it, for one thing, but it also seems suddenly more alive … —Mark Strand, The Art of Poetry No. 77, 1998 Mark Strand died today at eighty, we were sorry to learn. When Wallace Shawn interviewed him for The Paris Review in 1998—a year before he won the Pulitzer Prize for his collection Blizzard of One—Strand described his relation to death: “It’s inevitable. I feel myself inching towards it. So there it is in my poems. And sometimes people will think of me as a kind of gloomy guy. But I don’t think of myself as gloomy at all. I say ha ha to death all the time in my poems.” And death was arguably Strand’s great theme—few poets have written more acutely or more movingly about the chasm at the end of life. Which is not to say that he was excessively dour or bleak; the sense of isolation in his work is often leavened by light and feeling. Strand saw poetry as a humanizing influence in an increasingly inhumane world. He told Inscape a few years ago: Read More