May 5, 2023 The Review’s Review Movie Math By The Paris Review Sauvagette, CC BY-SA 4.0, via Wikimedia Commons. I love movie math. I love microrationalizing macroabsurdities, laser-focusing on hyperspecific justifications. 13 Going on 30 is a perfect proof. Once upon a time, it’s Jennifer Garner’s (Jenna’s) thirteenth birthday. She wishes she were thirty, she claims to her mom, having read a Poise magazine article touting the thirties as the prime of one’s life. “You’ll be thirty soon enough,” says her mother—and indeed, if Mom had known the film’s title, she might have clocked just how prescient she was. Jenna’s invited the popular clique, the Six Chicks, over for her birthday, despite the truth bomb from the boy next door, Matty, that “there can’t be a seventh sixth chick. It’s mathematically impossible.” The Chicks trick Jenna into “seven minutes in heaven,” that is, waiting blindfolded in a closet for a kiss (that never comes). When she realizes she’s been duped, she desperately chants the mantra she learned from Poise: “Thirty, flirty, and thriving.” By law of rhyme and the rule of threes, exactly thirteen minutes in, counting the opening credits, Jenna falls out of bed in her sprawling Fifth Avenue apartment. Read More
May 4, 2023 Letters A Letter from Henry Miller By Henry Miller Around the time he published some of his mostly famous works—Tropic of Cancer, Black Spring, and Tropic of Capricorn, to name a few—Henry Miller handwrote and illustrated six known “long intimate book letters” to his friends, including Anaïs Nin, Lawrence Durrell, and Emil Schnellock. Three of these were published during his lifetime; two posthumously; and one, dedicated to a David Forrester Edgar (1907–1979), was unaccounted for, both unpublished and privately held—until recently, when it came into the possession of the New York Public Library. On March 17, 1937, Miller opened a printer’s dummy—a blank mock-up of a book used by printers to test how the final product will look and feel—and penned the first twenty-three pages of a text written expressly to and for a young American expatriate who had “haphazardly led him to explore entirely new avenues of thought,” including “the secrets of the Bhagavad Gita, the occult writings of Mme Blavatsky, the spirit of Zen, and the doctrines of Rudolf Steiner.” He called it The Book of Conversations with David Edgar. Over the next six and a half weeks, Miller added eight more dated entries, as well as two small watercolors and a pen-and-ink sketch. The result was something more than personal correspondence and less than an accomplished narrative work: a hybrid form of literary prose we might call the book-letter. As far as we know, Miller never sought to have the book published, and the only extant copy of the text is the original manuscript now held by the Berg Collection at the NYPL. Edgar had come to Paris in 1930 or 1931, ostensibly to paint, and probably met Miller sometime during the first half of 1936. At twenty-nine, he was fifteen years Miller’s junior. Edgar soon joined the coterie of writers and artists who congregated around Miller’s studio at 18 villa Seurat. His interest in Zen Buddhism, mysticism, Theosophy, and the occult apparently helped energize Miller to embark on his own spiritual pilgrimage, and to articulate what he discovered there in his writing. “I feel I have never lived on the same level I write from, except with you and now with Edgar,” Miller confided to Anaïs Nin. Miller left Paris in May 1939. Edgar eventually returned to the United States as well. Though the two men seem to have stayed in sporadic contact, they probably never met again. Except for a single letter from Miller to Edgar written in March 1937—a carbon copy of which Miller saved until the end of his life —no correspondence between them is known to have survived. —Michael Paduano March 17, 1937 Saint Patrick’s Day In the past I had many conversations, many discussions, with others—and they were very important events in my life, and perhaps too in the lives of these others. Nothing is left of them but the aroma, the fragrance, the aura. They are in my blood, these heated conversations, but they are impossible to recall in any substantial form. If I make herein some feeble attempt to preserve the flame of our conversations it is partly for your own benefit, mon cher Edgar. I write these notes in anticipation of the day when you will open this little volume and marvel at your own lucidity, your own wisdom. Read More
May 3, 2023 On Nature On Butterflies By Hermann Hesse Jakob Hübner. Mancipium Fugacia argante, 1806. Everything we see is expression, all of nature an image, a language and vibrant hieroglyphic script. Despite our advanced natural sciences, we are neither prepared nor trained to really look at things, being rather at loggerheads with nature. Other eras, indeed, perhaps all other eras, all earlier periods before the earth fell to technology and industry, were attuned to nature’s symbolic sorcery, reading its signs with greater simplicity, greater innocence than is our wont. This was by no means sentimental; the sentimental relationship people have with the natural world is a more recent development that may well arise from our troubled conscience with regard to that world. A sense of nature’s language, a sense of joy in the diversity displayed at every turn by life that begets life, and the drive to divine this varied language—or, rather, the drive to find answers—are as old as humankind itself. The wonderful instinct drawing us back to the dawn of time and the secret of our beginnings, instinct born of a sense of a concealed, sacred unity behind this extraordinary diversity, of a primeval mother behind all births, a creator behind all creatures, is the root of art, and always has been. Today it would seem we balk at revering nature in the pious sense of seeking oneness in manyness; we are reluctant to acknowledge this childlike drive and make jokes whenever reminded of it, yet we are likely wrong to think ourselves and contemporary humankind irreverent and incapable of piety in experiencing nature. It is just so difficult these days—really, it’s become impossible—to do what was done in the past, innocently recasting nature as some mythical force or personifying and worshipping the Creator as a father. We may also be right in occasionally deeming old forms of piety somewhat silly or shallow, believing instead that the formidable, fateful drift toward philosophy we see happening in modern physics is ultimately a pious process. Read More
May 2, 2023 Home Improvements An Egyptian Vase By Jago Rackham Photograph by Jago Rackham. On the top of our fiction bookshelf is an alabaster vase. Its rim is broken. Inside it is a single dried flower, and beside it a faux peach, under a large bell jar. The vase is Egyptian and three thousand years old. I broke its rim a few years ago. Each time I reach for a novel I am reminded of the power of carelessness to undo eons of completeness. At thirteen I was sent to Lo’s school. Lo’ is my fiancée. We have been engaged since we were twenty-one and we are now both approaching our thirties. We “got together” soon after I joined the school and have been near constantly in one another’s presence since then. Like a medieval romance—somewhat creepy, somewhat sweet. Read More
May 1, 2023 On Books “The Dead Silence of Goods”: Annie Ernaux and the Superstore By Adrienne Raphel Interior of the Wal-Mart supercenter in Albany. Photograph by Matt Wade, Courtesy of Wikimedia Commons. Licensed under CCO 3.0. The first and only time I went to the Walmart in Iowa City was surreal. When I was in high school, my parents’ business-oriented small press had published a book called The Case Against Walmart that called for a national consumer boycott of the company; the author denounced everything from the superstore’s destruction of environmentally protected lands to its sweatshop labor to its knockoff merchandise. So by the time I made a pilgrimage out to the superstore at age twenty-one, I hadn’t stepped in a Walmart for nearly a decade, and it had acquired this transgressive power—the very act of crossing the threshold was as shameful as it was thrilling. Immediately, I sensed the store’s anonymizing power: outside, I was nearby the Iowa Municipal Airport, en route to the Hy-Vee grocery store; inside, I was anywhere. I didn’t know what I expected, but it was wonderful, and terrible, and weird, and empty, but also full of stuff. In the real world, I was allergic to animals, but I found myself hypnotized in the pet aisle: snake food, dry cat food, wet cat food, Iams, I am what I am. Each shade of paint chip in the Benjamin Moore display bouquet was more erotic than the one before. Primrose Petals, I Love You Pink, Pretty Pink, Hot Lips. Everything was too bright, oversaturated, illuminated in fluorescent Super Soaker–level high beams. I wasn’t high; I didn’t need to be. I barely saw another human, but the accumulation of things constituted many lifetimes of living. I was in a mass graveyard—a place defined by, as Annie Ernaux puts it, “the dead silence of goods as far as the eye could see.” From November 2012 to October 2013, in Look at the Lights, My Love—published in 2014 in France and in 2023 in an English translation by Alison L. Strayer—Ernaux recorded her visits to the Auchan superstore in suburban Cergy-Pontoise, an hour northwest of Paris. Like all of Annie Ernaux’s works, Look at the Lights plays a formal sleight-of-hand in the best way, with the feel of a dashed-off journal but the felt experience of a deeply philosophical meditation on the nature of shopping, voyeurism, late-stage capitalism, class, race, and desire. Read More
April 28, 2023 The Review’s Review Michael Bazzett, Dobby Gibson, and Sophie Haigney Recommend By The Paris Review Pete Unseth, CC BY-SA 3.0, via Wikimedia Commons. I don’t usually write to music. I’m too susceptible; I find it can give what I’m writing a false, unearned resonance, like slipping a poem into Garamond to make it “better.” But there are two songs that are rhythmic enough, each in their own way, that I sometimes put on a loop when I’m revising. There’s something about the cadence and the breath in them that works for me, that creates a kind of chamber that keeps the outside world at bay. And though I’ve heard “writing about music is like dancing about architecture,” (a quote so apt, it’s attributed to no less than a dozen people), here goes: “Spiegel im Spiegel,” 1978—Arvo Pärt The piece—in English, “Mirror in the Mirror”—begins with a simple ascending arpeggio, little triads that subtly alter, reflected back and forth like light on water, a mirror looking into a mirror. The melody stretches over and through the scales, extending like a long breath. The left hand on the piano arrives, eventually and sparingly, to ground the upward yearning, trees reaching toward light from the roots. The work is minimal in its composition, yet never fails to tug me out of my momentary preoccupations into a broader sense of time, drawing me into eternity through the little window of now. There are many beautiful recordings, but Angèle Dubeau’s version is a good place to begin, I think. If you put it on and close your eyes, everything will soon feel softer. “Fleurette Africaine,” 1962—Duke Ellington Mingus starts the song with a spiraling, skeletal stuttering on the upright bass, a sleeping animal rousing itself, a little tousled. It’s all very organic, the rise and fall of a breathing body. Ellington’s piano wanders in, elegant, stately. Max Roach’s drumming is the nest—he drums around the song as much as into it—weaving the thatch that holds the bird that sings the song. —Michael Bazzett, author of “Autobiography of a Poet” Read More