June 27, 2014 This Week’s Reading What We’re Loving: Carson, Comyns, “Carriers” By The Paris Review Detail from an illustration by Ellen Weinstein for the summer issue of Nautilus, a science quarterly. I don’t care if I never read another charming little book about Marcel Proust—not now that I’ve read Anne Carson’s chapbook The Albertine Workout. In fifty-nine numbered paragraphs (or perhaps, exercises), Carson reviews what little we know about Marcel’s mistress, the most-mentioned and yet most elusive character in Proust’s work. Carson’s findings take us deep into the questions of what love and sex mean to Proust, and in our own lives. As the title implies, you can read The Albertine Workout in one sitting, but you will keep feeling it for days. —Lorin Stein This week, I discovered the Web site for Nautilus, a science quarterly. I have yet to see the print version, but if it’s anything like the online iteration—elegantly and smartly designed, with illustrations that often have the look of early- to mid-twentieth-century artwork—then it’s worth picking up. The content isn’t what you’d necessary expect from a science magazine (I grew up around hardcore publications like Nature and Science): there’s fiction, photography, and art, in addition to pieces on, say, evolution, lepidoptery, architecture, and ecology. I came to the site looking for Lauren Weinstein’s comic strip “Carriers,” which she posted daily this past week. Weinstein is one of the best cartoonists at work, and this five-part story is proof of that. She and her husband are both carriers for cystic fibrosis, and the comic details her struggle in waiting to find out if her unborn child tests positive for the defect. Weinstein’s characteristic humor keeps pathos at bay, and she reflects entertainingly, by way of her terrific serpentine scroll-downs, on the how and why of genetic mutations such as this one. —Nicole Rudick What do you think when you hear the name Luis Suárez? If you’ve followed the news this week, the phrases “biting lunatic,” “delinquent toddler,” and the “Hannibal Lecter of soccer” might come to mind; “family guy,” “superhuman,” and Uruguay’s “favorite son” haven’t crossed the minds—or lips—of many sports pundits. If you’re curious about understanding Suárez beyond the memes and gifs, Wright Thompson’s profile from late last month explores the Uruguayan player’s childhood and the mystery surrounding an incident when he head-butted a referee and received a red card in a youth match—which may or may not be true. What really stuck with me after finishing the essay wasn’t the story of the referee or the media scrutiny, but the history of Suárez and his wife, Sofia Balbi. After the pair fell in love at fifteen, Sofia moved to Spain with her family. Suárez, at the time working as a street sweeper, knew that he could never afford a plane ticket on his own. Instead, he dedicated himself to soccer until he became good enough to be picked up by a European team. The thing is, his “completely irrational” plan worked—he played first for Groningen, then moved to Ajax and finally to Liverpool, where he now plays. He married Balbi in 2009, and as Thompson writes, “He loves his family, and soccer gave it to him, and guarantees no Suárez will ever again pick up coins while cleaning the streets.” While this romantic tale doesn’t justify his actions last week, it helps explain the desperation you catch sometimes in his eyes when you watch him play, “someone who fights to win, no matter what … He bites because he is clinging to a new life, terrified of being sucked back into the one he left behind.” —Justin Alvarez Regular readers of the Daily already know how Nicole, Sadie, and I feel about the neglected English writer Barbara Comyns. Last week it was my turn to read her gothic novel The Vet’s Daughter. It reminded me powerfully of something Donald Antrim told The Paris Review in issue 203: “In building another world through the fantastic I was making a set of rules that had to be observed, a logic that had to be carried through—that I was in some ways obeying the premise of the very opening line.” —L.S. Read More
June 27, 2014 Our Daily Correspondent Philosophy of the World By Sadie Stein Detail from Ernst Ludwig Kirchner’s Kaufhaus im Regen, 1926-7. In the summer, a trip to the grocery store or the laundromat can pose one existential conundrum after another. On seemingly every corner of the city, one is greeted by a young person with a clipboard in his hand, an enormous T-shirt on his back, and desperation in his eyes. And then come the questions—huge, unanswerable, world-shaking. DO YOU CARE ABOUT THE ENVIRONMENT? SPARE A MOMENT FOR GAY RIGHTS? DO YOU LIKE TO LAUGH? ARE YOU REGISTERED TO VOTE IN NEW YORK STATE? CAN I ASK YOU A QUESTION ABOUT YOUR HAIR? YOU LOOK LIKE A FRIENDLY PERSON! CAN I ASK YOU SOMETHING? ARE YOU JEWISH? DO YOU LOVE CHILDREN? Read More
June 27, 2014 World Cup 2014 W.T.Ph By Jonathan Wilson VectorOpenStock, via Wikimedia Commons. And so the first round of the World Cup comes to an end with a bang from Thomas Müller, and—pace Ronaldo, who put on a fine late show—various degrees of whimper from the departing nations Portugal, Russia, South Korea, and Ghana. At last, those of us who have followed Rihanna on Twitter for the last two weeks have found certain of her exigent questions answered: for example, to June 19’s “ENGLAND whatchu gon do?!!” we can now confidently say, “Nothing.” Other tweets of hers have been by turn prophetic, emphatic, and envy-inducing: “Uruguay defense is almost disrespectful,” also from June 19, uncannily anticipated Luis Suárez achieving full disrespectful status five days later. “W.T.Ph,” more exclamation than question, has been and will continue to be applied usefully throughout this free-ranging, attacking, and mesmerizing tournament. “Goal keepers getting phucking sleepy” has its own kind of lullaby poetry; and who wouldn’t want to be Germany’s Miroslav Klose, the coholder of the record for most goals scored in World Cup tournaments, who’s now, more urgently, an object of Rihanna’s undistilled affection? “My nigga Klose,” she tweeted on June 21. Lionel Messi, eat your heart out. Coming up, eight games in four days. Brazil vs. Chile looks like a good one, while Uruguay, hobbled by a dementia of denial to which both team and country appear to have succumbed, probably won’t do much against Colombia. Mexico has played well, but we can expect the Dutch, with Van Persie and Robben, to outclass them. France should beat Nigeria, and most people who are not Greek will be rooting for Costa Rica to triumph over Greece. Germany vs. Algeria is a grudge match: at 1982’s World Cup, in Spain, Germany and Austria contrived a result that would see both teams go through at Algeria’s expense, a shameful performance that has not been forgotten in North Africa. Lionel Messi, whom Nigeria’s coach Stephen Keshi claims is from Jupiter (confirmation awaited from Tom Cruise) will beat Switzerland. And last of all, there’s what might be, in competitive terms, the cream of the crop: Belgium vs. USA. How far can this mercurial USA team go? Or rather: USA, whatchu gon do? Jonathan Wilson’s work has appeared in The New Yorker, Esquire, The New York Times Magazine, and Best American Short Stories, among other publications. He is the author of eight books, including Kick and Run: Memoir with Soccer Ball. He lives in Massachusetts.
June 27, 2014 First Person House-sitting and Other Work By Aaron Gilbreath Precarity and creativity in other people’s homes. Charles Demuth, Modern Conveniences, 1921. When I moved back to Portland, Oregon, in 2010, after four years away in New York and Arizona, no one would hire me. Not Whole Foods, not the local New Seasons market, not the upscale Zupan’s chains. “Thanks for your interest in the Deli Service Clerk/Courtesy Clerk/Cashier/Meat Cutter – Back up position,” an automated email said. “If your skills match up with the requirements of the job, we’ll be in touch to arrange an interview.” No one got in touch. Trader Joe’s wouldn’t even respond to my inquiries. If I, a thirty-six year old with college degrees and retail experience, couldn’t get hired to work a register, what hope could I feel in anything? I subsisted on egg dishes and microwavable food. Whatever canned soups were on sale I bought by the armful. In lieu of a “real” job, I made it my job to spend very little money. Portland is a tough town for good employment. It has a glut of eager applicants and limited industry. Our main commercial offerings are arguably food, advertising, and stylishness. Combined with our large artist population, that means that countless musicians, writers, and painters are cooking and serving your meals. Hope came from a local landmark, Powell’s Books, which hired me as a temp cashier in the summer of 2011. I’d worked at the flagship store full-time between 2000 and 2006, and the intervening years seem to have erased my employer’s memories of my often gruff customer service, my habit of sleeping on the lunchroom couch, and my tendency to use the company Xerox machine to photocopy material for whatever I was writing. That summer, by the large windows along Burnside Street, I stood at the cash register and pushed keys for four to nine hours a day. But when the season ended, the store created a few permanent part-time cashier positions, and I didn’t land one. “We’re sorry to say we’ve found somebody else,” my manager said weeks after my interview. He wasn’t as sorry as I was—he, with a job to cover his mortgage and health insurance. I was back where I started. I struck out on my own and became a house sitter. Read More
June 27, 2014 On the Shelf Keep Calm and—Stop It, Just Stop It, and Other News By Dan Piepenbring Even the creators of the slogan didn’t like it. Bernard-Henri Lévy remains, at sixty-five, the paragon of “noble insolence”: “Responding to a recent query from a Parisian newspaper about the secret of his perpetual youth, his advice was, ‘Don’t spend time with boring people.’ The unbuttoned white shirt—he tells interviewers that he would choke otherwise—is a form of social provocation that he doubtlessly relishes; it also constitutes a dandyish parlor trick, leading otherwise shrewd judges of character and intellectual talent to underestimate his political acumen and Puritan work habits.” The “Keep Calm and Carry On” poster that launched millions of profoundly vacuous parodies is seventy-five years old today—but it was only first seen in 2001. The British Treasury refrained from printing it during World War II because they thought “the phrase was ‘too commonplace to be inspiring … it may even annoy people.’” Prescient. Have novelists exhausted the supply of decent titles? Last year saw two books called Life After Life; this year there’s Remember Me This Way and Remember Me Like This; and Stephen King’s Joyland came eight years after Erica Schultz’s Joyland. Celebrity novels, reviewed: Chuck Norris’s The Justice Riders “wraps up with Justice sharing the gospel with Mordecai, then shooting him dead after the bad guy rejects Jesus—which is sort of Norris’s worldview in a nutshell.” To catch a (phone) thief: “You’d NEVER send a message with the incorrect ‘your’—no matter how plastered you are!”
June 26, 2014 At Work What Talent Wants to Serve: An Interview with Donald Margulies By Zack Newick Photo: Ethan Hill. The playwright Donald Margulies is at what he describes as a “delicious” point in his career. He’s written the screenplay for The End of the Tour, an adaptation of David Lipsky’s Although of Course You End Up Becoming Yourself that recently completed filming. His newest play, The Country House, opened June 3 in Los Angeles at the Geffen Playhouse, and begins New York previews September 9 at The Manhattan Theater Club’s Samuel J. Friedman Theater. It’s an “homage” to Chekhov, employing themes and images from Margulies’s favorites: Uncle Vanya, The Cherry Orchard, and The Seagull. It’s also his first play ostensibly about the theater itself. The play is an ‘off-stage comedy’ set during the Williamstown Theatre Festival, focusing on a family of actors who have returned to a familiar house in the Berkshires after the recent death of a beloved family member. Margulies is the author of over a dozen plays, including The Model Apartment, Sight Unseen, and Dinner With Friends, which won the Pulitzer Prize for Drama in 2000. He lives in New Haven with his wife; he has a son at college in Minnesota. His workspace is a series of rooms on the third floor of his home, walled by books, with windows overlooking his abundant backyard. When we spoke, first in his “bill-paying” room and then over fat sandwiches in New York, he appeared energized by his career’s activity, as if even its description gave him inspiration. He is now at work on the book for a musical, an adaptation of Father of the Bride, which would be a first. Has any of your writing for the screen begun as writing for the stage? I’ve adapted three of my plays into screenplays—Sight Unseen, which has not been filmed, and Collected Stories and Dinner With Friends, both of which were produced for television—but I have never begun a play that I decided would be better served as a screenplay. In the case of my most recent screenplay, The End of the Tour, my long-time manager, David Kanter, sent me David Lipsky’s book, Although Of Course You End Up Becoming Yourself, with a note that said, “Take a look at this, there might be a play in it,” because the book is almost entirely dialogue, the transcription of a four-day conversation between Lipsky and David Foster Wallace. I started reading it and was excited because I thought it did lend itself to adaptation—not for the stage but for the screen. I saw its potential as something much more expansive than two guys sitting around talking—namely a road picture. I was intrigued by the idea of seeing this iconic figure on the American landscape. The End of the Tour is consistent with themes that have interested me as a dramatist for forty years, which is what no doubt attracted me to it. Read More