May 19, 2014 On the Shelf The First Children’s Book, and Other News By Dan Piepenbring “The Soul,” from the 1705 English edition of Orbis Sensualium Pictus; image via the Public Domain Review In 1658, John Comenius published what may have been the first children’s picture book: Orbis Sensualium Pictus, or The World of Things Obvious to the Senses Drawn in Pictures. “The Orbis—with its 150 pictures showing everyday activities like brewing beer, tending gardens, and slaughtering animals—is immediately familiar as an ancestor of today’s children’s literature.” Behind Alex Trebek’s veneer of erudition is an everyman, a heavy drinker, a handyman: “Trebek says that when he gets up in the middle of the night—he has terrible insomnia—he will lie awake for hours plotting how to fix the sliver of light peeking through his window, and all the other home-repair projects he wants to tackle next.” “Throughout cult-movie history, the American cheerleader has come to stand for something demonic, bitchy, slutty, and secretly lesbian, resulting in an archetype as American as apple pie, football, and well, cheerleading itself: the Subversive Cheerleader Genre.” Cell-phone novels, stories serialized in short bursts, have consistently appeared on Japan’s best-seller lists for years; now a few developers are attempting to popularize them in America. Amazon puts the squeeze on Hachette: “Hachette, which owns Little, Brown; Hyperion; and Grand Central, says that Amazon is deliberately slowing sales of Hachette’s books in an effort to pressure the French publisher into agreeing to new contract terms on book pricing.”
May 16, 2014 Bulletin Own a Piece of Paris Review History By Dan Piepenbring Tonight at nine, American Masters’s Plimpton! Starring George Plimpton as Himself premieres on PBS. The documentary “does the man justice,” Variety says. The Newsday nails it: “Famed journalist had fun, and so will you.” For the next week, to celebrate the documentary and our late, great founder, The Paris Review is giving all new subscribers a copy of our twenty-first issue, published in the spring of 1959. This remarkable issue includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers. Subscribe now and we’ll send you a copy of your own—a piece of The Paris Review’s history. And tune in this evening to catch Plimpton!, which is about, as PBS puts it, “football, literature, magazines, fireworks, hockey, movies, presidents, lawn chairs, geniuses, and the true tall tale that brought them all together.”
May 16, 2014 This Week’s Reading What We’re Loving: Antrim, Glynn, a Massive Sugar-Woman By The Paris Review Kara Walker, A Subtlety In the last few years one of my favorite novelists, Donald Antrim, has devoted himself to short stories—not as finger exercises, but with a combined intensity, delicacy, and feeling for tradition that set him apart from any writer of his generation. This morning I finished the galleys of his long-awaited collection, The Emerald Light in the Air, and immediately started reading them again. What is it about Antrim? He writes as if prose were his native language: his sentences have the matter-of-fact pathos and absurdity of dreams. Also, they are often very funny: “An Actor Prepares” remains, after fifteen years, one of the funniest short stories I have ever read. Nowadays the comedy is quieter and darker, with protagonists who struggle to remain within the ranks of the worried well. It’s all up-to-the-minute (you could write a paper about the evolution of cell phones in Antrim’s work), but his themes are the Chekhovian classics—ambivalence toward the life at hand; yearning for the life that might have been—and he evokes unhappy love with a sensuousness and a subtle, plausible magic that recall Cheever at his best. —Lorin Stein Go see Kara Walker’s massive installation, “A Subtlety,” at the doomed Domino Sugar Factory. The space was once a warehouse for unrefined sugar that arrived from the Caribbean. Now, the air is sticky with molasses; it drips from the ceiling, staining the floor and the factory’s newest resident, a thirty-five-foot sugar-woman in sphinx form, naked but for a headscarf and some earrings. She presides over thirteen boys of molasses and resin who labor on the concrete. And she watches, and whatever she’s watching seems not in this room, seems elsewhere, ahead and behind and beside us. —Zack Newick Since the death of Thomas Glynn earlier this month, I’ve gone down a rabbit hole of sorts: I’ve tried to locate many of the author’s obscure works, including an 1,800-page unpublished manuscript on the first 150 years of the Dannemora prison, a much shorter history of New York State, an array of short stories, and the occasional essay (don’t miss this great 1975 profile of Frank Zappa from Modern Hi-Fi & Music). Glynn self-published A Child’s Christmas in Chicago in 2002, and while the title may come across as more sentimental than most of Glynn’s oeuvre, think twice after reading the novel’s opening line: “Hey, it’s Christmas for Christ’s sake.” With a touch of the raconteur Jean Shepherd and the voice of a young Gulley Jimson, the story is a mix of oddball characters, whimsy, and the kind of heartbreak that only the Christmas season can bring. —Justin Alvarez It can be a real relief to read something that isn’t stylized, or even something badly written, after reading Proust, which I have been doing on and off this week. In his excellent essay on volume three of Knausgaard’s My Struggle series, Ben Lerner celebrates Knausgaard’s unquotability and his sloppiness. Moreover, Lerner provides the best answer I’ve yet read on what Knausgaard’s writing does to us, and why we’re so obsessed with it, why “we can read it compulsively while being uncertain if it’s good.” —Anna Heyward Read More
May 16, 2014 Our Daily Correspondent From Her Palace By Sadie Stein Parmigianino, Schiava Turca, c. 1531–34 The Schiava Turca (Turkish Slave) is one of the many mysteries of art history. The painting, a 1530s Mannerist masterpiece by Parmigianino, is considered an icon of the artist’s hometown, but no one is sure of the sitter’s identity. Was it a noblewoman? A courtesan? Or just an ideal of feminine beauty? One thing is more or less certain: nickname aside, the woman pictured was almost certainly not Turkish. The painting acquired its commonly used moniker in 1704, when a cataloguer assumed its subject’s dress spoke of the East. Rather, her sumptuous costume and turban-like balzo headdress would have been characteristic of court dress of the Northern Italian Renaissance. Aimee Ng, guest curator of the Frick’s current exhibition, “The Poetry of Parmigianino’s ‘Schiava Turca’,” has another theory altogether. As the show’s title indicates, she feels the portrait may have had everything to do with the literary culture of the era. She explains, In the Renaissance, beautiful women and their portraits were often seen as poetic muses who inspired male poets and painters. This sitter is directly linked to poetry through the ornament on her headdress, which depicts a winged horse, the symbol of poetic inspiration. Perhaps, however, rather than a muse, the sitter is herself a poet. Seen in this light, her twisting pose … and forthright gaze would convey her creative force. She may even be identified with a specific female poet active in the area around Parma in the 1530s, such as Veronica Gambara, whom Parmigianino had many opportunities to meet. Read More
May 16, 2014 Arts & Culture Present and Absent By Hunter Braithwaite The art world comes to Mexico City. Mexico City’s Material Art Fair. Photo: Komplot In a few hours, a conference room on the fourth floor of Mexico City’s Hilton Reforma will swing open and the third day of the Material Art Fair will commence. But it’s five a.m., and I’m on the sixth floor, in the heated indoor pool, with about five near-naked and naked artists and a bottle of mescal bobbing in the shallow end. None of us has a room here. Lenin said you can’t trust artists because they can navigate all levels of society. In this case, that means all floors of the Hilton. The evening began yesterday at a Mariachi bar. I proceeded to a store selling giant micheladas that had the mouthfeel of a Papa John’s pizza in a cup. Then I went to a grimy rave. Then to the end-of-the-world wealth of a penthouse party in Polanco where the free sushi meant that at least two people were doing blow off of chopsticks, and where, in line for a marble bathroom indecorously coated in piss, I met a Spanish developer named Iggy who was building an entire village with Herzog & de Meuron, the Swiss architecture firm, on a stretch of virgin Mexican coast. After that, I picked up more mescal and sat on the desolate, please-abduct-me corner of a Centro Histórico street, pulling from the same bottle now bobbing in the Hilton pool’s shallow end. I live in Miami, where for weeks the talk had been about Mexico City. When do you get in? Where are you staying? The contemporary art fairs Zona Maco and Material both opened in the first week of February. Why not go? To work in the culture industry is to justify any type of vacation or prolonged period of dicking around as research. As a supposed arbiter of transcendence, art and its surrounding world has of late succumbed to stasis and homogeny. Things feel the same. An unceasing focus on the contemporary has culture in the doldrums of a present-tense continuous, defined by a million identical white-cube galleries and purple-carpeted convention halls. But it takes a lot of movement to feel like you’re staying in one place. Everyone—collectors, artists, curators, handlers, advisors—is launched into a ceaseless grand tour of the capitals of capital, armed with VIP cards to the nameless Biennials and Fairs wobbling skyward Babel-style. Nowhere is this more evident than in Miami, which to many seems an art fair with a city attached. The parties and the velvet-rope-divided subjectivities are as much a part of a naturalized cultural terrain as the academy and the museum are in other cities. For artists here, drinking and schmoozing are not just that—they’re praxis. So I booked a flight to Mexico City. Everyone was going. Read More
May 16, 2014 On the Shelf Avoid Cholera with a Healthy Beard, and Other News By Dan Piepenbring A twenty-three-year-old Viennese woman, drawn before and after contracting cholera in 1831. Image via Wired.com Say Jesus Christ dictates a book to you in a dream—who holds the copyright? Is it you or is it Jesus of Nazareth? “Donne, in one of his regrettably few statements about how ‘Metricall compositions’ are made, referred to the putting together of a poem as ‘the shutting up.’ An unfortunate term, and we could use a better one; because there can’t be much doubt that the shaping of a poem is also a pressure, in which the binding energy of the poem brings everything inside its perimeter to incandescence.” Let’s give franchise novels their due: “It’s a plain fact of publishing life that more people will read the latest Star Wars franchise novel than all the books shortlisted for last year’s Booker prize put together.” Unsurprisingly, nineteenth-century medical texts are full of disturbingly wondrous illustrations. While we’re on medicine in the nineteenth century: doctors in the Victorian era recommended that men grow beards to stay healthy. “The Victorian obsession with air quality saw the beard promoted as a sort of filter. A thick beard, it was reasoned, would capture the impurities before they could get inside the body. Others saw it as a means of relaxing the throat, especially for those whose work involved public speaking.”