April 25, 2014 At Work A Marvelous Crutch: An Interview with Brad Zellar By John Lingan Pause Play Play Prev | Next Brad Zellar’s writing has appeared in daily newspapers from Minnesota and in an expansive blog called Your Man for Fun in Rapidan; he has chapters and essays in collections like The 1968 Project and Twin Cities Noir, and occasionally he writes fiction, which he tells me he publishes “under an assortment of fake names.” But he’s most comfortable writing about photographs, as he did in the book Suburban World: The Norling Photos, and in his most recent project with the photographer Alec Soth, the LBM Dispatch. Named for and printed by Soth’s limited-run publishing house, Little Brown Mushroom, the Dispatch reimagines the iconic American road-trip photography book as a series of small newspapers, each of which chronicles a quick trip Zellar and Soth have taken through a different state or territory. Previous Dispatches have covered Michigan, Ohio, and California’s “Three Valleys—Silicon, San Joaquin, and Death.” The most recent includes images and stories from the Texas Triangle. I wanted to know about the writing process for the Dispatch, and how Zellar chooses the issues’ many quotations from historical and literary sources. But I was most curious to hear his thoughts on writing to accompany images. Not quite a photo-interpreter in the Berger/Sontag tradition (though he is a great writer in the “how to look” sense), Zellar embraces photography as a fan, and he’s not afraid to let images do the talking when necessary. In Zellar’s work, photos are windows, excuses for curiosity—above all, the Dispatch embodies the devotion to stay curious. A lot of your work, here and elsewhere, has accompanied photos. How does it affect your own writing to know that pictures will share its space? How does it make you think about your purpose as a writer? The public library in my hometown had a terrific collection of photo books when I was a kid. I was an obsessive reader, but it was from those photo books that I formed my first real impressions about what the world looked like. And they played a huge role in cementing a resolve that I very much wanted to travel and see that world. I used to spend hours hunched over William Eggleston’s Guide, the first Diane Arbus monograph, and a book of vernacular American photographs called The Champion Pig. From an early age I used to write stories based on photographs, and I’ve never really stopped. I have a large collection of found photos, I like to take photos myself, and I just get a kick out of looking at pictures and trying to animate them with words. I love that photos represent so many possible realities, and they’re sort of a laboratory for exploring points of view. You have the people in the pictures, obviously, each of them a different voice with a different version of whatever story is being told, you have the people outside the frame or lurking in the peripheries, and then, of course, you have the photographer. Read More
April 25, 2014 From the Archive Solitude & Company, Part 5 By Silvana Paternostro In our Summer 2003 issue, The Paris Review published Silvana Paternostro’s oral biography of Gabriel García Márquez, which she has recently expanded into a book. In celebration of García Márquez’s life, we’re delighted to present the piece online for the first time—this is the last of five excerpts we’ve run this week. Read the complete text here. Photo: National Archieef Nederland, via Wikimedia Commons ROSE STYRON: Somehow, everyone on Martha’s Vineyard seemed to know that he was coming to visit us. Everyone wanted to meet him. Harvey Weinstein, spotting me in Vineyard Haven, hurried over to say, “Please invite me—he’s my favorite author—I’ll sweep the floors.” President Clinton, whom Gabo admired and hoped to talk with, wanted Chelsea to meet him. We decided a large cocktail gathering on our lawn would be prudent, to be followed by a very small seated dinner so the president and Gabo and our Mexican guests, the Carlos Fuenteses and Bernardo Sepulvedas (he was the former foreign minister), could chat in relative quiet. At dinner Gabo’s goddaughter, our friend Patricia Cepeda, translated ably. Our Vineyard neighbors, the Vernon Jordans and the William Luers, and Hillary Clinton completed the table. We all remember that President Clinton’s sweater sported an Elvis crossword puzzle. WILLIAM STYRON: Although I wasn’t listening closely, I could tell—I have enough Spanish to know—that Gabo and Carlos were engaging him in a talk about the Cuban embargo. They were both at that time passionate about the embargo. Clinton was resisting this conversation, I presume because his mind was already made up. He wasn’t about to be budged even by people that he admired as much as Gabo. So Bill Luers, sitting closer, seeing Clinton’s eyes glaze over, as an ex-diplomat spoke out firmly enough to change the tone of the conversation from politics in Cuba to literary matters. It changed the entire tone at the table. Someone, Bill Luers or perhaps Clinton, asked everyone at the table to give the name of their favorite novel. Clinton’s eyes lit up rather pleasurably. We had a sort of literary parlor game. I recall that Carlos said his favorite novel was Don Quixote. Gabo said The Count of Monte Cristo, and later described why. He said it was the perfect novel. It was spellbinding, not just a costumed melodrama, really a universal masterpiece. I said Huckleberry Finn just off the top of my head. Finally, Clinton said The Sound and the Fury. Immediately, to everyone’s amazement he began to quote verbatim a long, long passage from the book. It was quite spellbinding to see him do that because he then began to give a little interesting lecture on the power of Faulkner and how much Faulkner had influenced him. He then had this kind of two-way conversation with Gabo, in which Gabo said that without Faulkner he would never have been able to write a single word, that Faulkner was his direct inspiration as a writer when he was just beginning to read world literature in Colombia. He made a pilgrimage to Oxford, Mississippi. I remember him mentioning this to Clinton. So the evening was a great success, though a total failure as far as politics went. Read More
April 25, 2014 On the Shelf Warhol via Floppy Disk, and Other News By Dan Piepenbring Andy Warhol, Andy2, 1985, ©The Andy Warhol Foundation for the Visual Arts, Inc., courtesy of The Andy Warhol Museum Shakespeare: playwright, poet, armchair astronomer. “Peter Usher has a very elaborate theory about Hamlet, in which the play is seen as an allegory about competing cosmological worldviews … Claudius happens to have the same name as Claudius Ptolemy, the ancient Greek mathematician and astronomer who we now associate most closely with the geo-centric Ptolemaic worldview.” From the mideighties: Andy Warhol’s rediscovered computer art. New research by the University of California-San Diego’s Rayner Eyetracking Lab—nobody tracks eyes like the Rayner—suggests that speed-reading apps might rob you of your comprehension skills. “I have been surreptitiously scrutinizing faces wherever I go. Several things have struck me while undertaking this field research on our species. The first is quite how difficult it is to describe faces … We might say that a mouth is generous, or eyes deep-set, or cheeks acne-scarred, but when set beside the living, breathing, infinitely subtle interplay of inner thought, outward reaction and the nexus of superimposed cultural conventions, it tells us next to nothing about what a person really looks like.” In Germany, business is booming. The secret: pessimism. “German executives are almost always less confident in the future than they are in the present.” Discovered in an archive of the LAPD: more than a million old crime-scene photographs, some of them more than a century old.
April 25, 2014 Sleep Aid Medical Expert Evidence By H.C. Wood Jr., M.D. It’s late, and you’re still awake. Allow us to help with Sleep Aid, a series devoted to curing insomnia with the dullest, most soporific prose available in the public domain. Tonight’s prescription: “Medical Expert Evidence,” a treatise first published in Lippincott’s Magazine of Popular Literature and Science in April 1873. Albert Anker, Zwei schlafende Mädchen auf der Ofenbank Date, 1895 There is scarcely any position of more responsibility than that of the medical expert in cases of alleged poisoning. Often he stands with practically absolute power between society and the accused—the former looking to him for the proof of the crime and for the protection which discovery brings; the latter relying upon him for the vindication of his innocence. How profound and complete, then, should be his knowledge! how thorough his skill! how pure and spotless his integrity! how unimpeachable his results! Yet recently the humiliating spectacle has been repeatedly presented of expert swearing against expert, until the question at issue was apparently degraded into one of personal feeling or of professional reputation. So far has this gone that both judicial and public opinion seems to be demanding the abolition of expert testimony. The medical expert must, however, remain an essential feature in our criminal procedures, partaking as he does of the functions of the lawyer, inasmuch as he has, to some extent, the right to argue before the jury, partaking also of the judicial character in that it is his duty to express an opinion upon evidence, but differing from both judge and advocate in that as a witness he testifies to facts. Were the attempt made to do away with his functions, there would be an end to just convictions in the class of cases spoken of, because no one would be qualified to say whether any given death had been produced by poison or by a natural cause. In many matters that come under the notice of medical experts there is room for honest differences of opinion. Of such nature are questions of sanity and insanity. It must be remembered that these are, after all, relative terms. Reason leaves its seat by almost imperceptible steps. Who can determine with exactness the line that separates eccentricity from madness—responsibility from irresponsibility? Moreover, the phenomena upon which opinion is based are, in such cases, so hidden, so complex, so obscure, that in the half-lights of a few short interviews they will often be seen differently by different observers. In scarcely any of its parts does toxicology belong to this class of subjects—certainly not at all in so far as it deals with mineral poisons. To a great extent it is a fixed science—a science whose boundaries may be widened, whose processes may be rendered more delicate, but whose principles are in great measure settled for ever. Not in the imperfections of the science, but in the habits of the American medical profession and in the methods of our criminal procedures, lies the origin of the evils complained of. Read More
April 24, 2014 Bulletin The Deadline Approaches By Dan Piepenbring A reminder: until May 1, we’re accepting applications for a Writer-in-Residence at the Standard, East Village, in downtown Manhattan—you’ll get a room at the hotel for three weeks’ uninterrupted work. The residency will last the first three weeks in July; applicants must have a book under contract. The applications will be judged by the editors of The Paris Review and Standard Culture. You can find all the details here. Bonne chance!
April 24, 2014 Jolie/Laide The Aulds Have It By Charlotte Druckman Jolie/Laide is a series that seeks the beautiful and the ugly in unexpected places. Angela Lansbury in Terry Richardson’s iconic cover shot for The Gentlewoman. Continue to present yourself as a woman of loveliness and dignity, a woman who feels good and knows she’s looking her best. —Angela Lansbury, The Gentlewoman, Autumn/Winter 2012 When I was a little girl, I had no reason not to follow my parents’ edict to respect my elders, especially when it came to my female elders. My mother was stunning. I’d watch, mesmerized, while she applied her makeup, spritzed her Chloe perfume, and put on her latest Valentino or Ungaro ensemble before an evening out with my father. I thought her mother, my grandmother, was the epitome of elegance in her Upper East Side tweed uniform. Flipping through my mother’s latest issue of Vogue, I saw a photo of Sophia Loren in glasses. “This woman looks like mom when she wears her glasses,” I announced. “I do not look like Sophia Loren, but I thank you for the compliment,” my mom said. At the time—the eighties—Sophia was in her early fifties. The mask of fright she now wears, courtesy of an aggressive plastic surgery regimen, had not yet been donned. During that period, I also saw pictures of Audrey Hepburn, who was ten years Loren’s senior, and I thought she, too, was beautiful. Of plastic surgery, she once said, “I think it’s a marvelous thing, done in small doses, very expertly, so that no one notices.” Read More