May 30, 2014 This Week’s Reading What We’re Loving: Dallas, Dubai, Dublin By The Paris Review Three nights ago, the eminent record collector Chris King came by The Paris Review loft to launch his new LP, Alexis Zoumbas: A Lament for Epirus 1926–1928. King arrived with several armfuls of 78s, including Greco-Albanian dirges, a Ukrainian wedding dance, and rare sides by Richard “Rabbit” Brown, Elvie Thomas, Amédée Ardoin, and others who have achieved a measure of posthumous renown on King’s label, Angry Mom Records. As a house present, King gave the Review eighteen test pressings of the Carter Family (“from their most depressing period”), but the song I can’t get out of my head—thanks to our associate editor, Stephen Hiltner, who whistled the first few bars this morning—is “Chasin’ Rainbows,” by the Dallas String Band. Listen at your peril. —Lorin Stein At a conference on Web design earlier this month, Maciej Ceglowski gave a talk called “The Internet with a Human Face,” a cogent look at the bizarre double lives the Internet forces us to live, the havoc it’s wrought on our concepts of privacy and identity. “A lot of what’s wrong with the Internet has to do with memory,” he says. “The Internet somehow contrives to remember too much and too little at the same time, and it maps poorly on our concepts of how memory should work.” Ceglowski runs pinboard.in, a bookmarking site. Unlike too many in the Silicon Valley set, he’s entirely free of techno-utopianism, but he’s not an alarmist or a fatalist, either. Rather, he’s refreshingly clear-eyed about the state of technology and how we can improve it. “I’m tired of being scared of what the Web is going to look like tomorrow,” he says. “I realized how long it had been since I looked at a new technology with wonder, instead of an automatic feeling of dread.” —Dan Piepenbring Dubliners turns a hundred in June. “The Dead” is a masterpiece, of course, but I think the best of the stories is “Araby,” whose child protagonist experiences a kind of antirevelation—one of the moments of adolescent wretchedness we all pass through to get to adulthood. The whole experience is conveyed in the twenty-four perfect words of the final sentence: “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.” —Anna Heyward When I think of the United Arab Emirates, I think of excess: artificial land shaped like a palm tree in Dubai, a certain Greenwich Village university cloned in downtown Abu Dhabi, and billion-dollar hotels. Reviewing Rowan Moore’s Why We Build in the New York Review of Books, Martin Filler writes, “In Dubai, the much-ballyhooed botanical symbol of a sheltering oasis gives way to a more mundane reality.” Filler describes his working relationship with the commanding architect Zaha Hadid, who has recently come under scrutiny for her lack of concern for the working conditions of the stadium she designed for the 2022 Qatar World Cup. Are such conditions an architect’s responsibility? More important, have we allowed architecture to reach a point where it’s beyond moral consequence? —Justin Alvarez Read More
May 30, 2014 On Language Wiltshire Words By Dan Piepenbring Longleat, Wiltshire: Morris’s County Seats, 1880. From Volume II of The County Seats of the Noblemen and Gentlemen of Great Britain and Ireland, by Francis Orpen Morris. In 1893, George Edward Dartnell and the Reverend Edward Hungerford Goddard published Glossary of Wiltshire Words—it is, as intuitive readers will have guessed, a glossary of words used in the county of Wiltshire. The “Folk-speech,” as the authors call it, is full of evocative terms, some of them familiar—jumble and caterpillar—and others entirely puzzling. (Evidence suggests that Wiltshire residents were often puzzled; they have about three dozen words for the condition.) The best entries tend to be common words with new definitions. Smart, for instance, used to mean “a second swarm of bees”; goggles was “a disease in sheep.” Here are a few of the most novel words with annotations from the authors. Read More
May 30, 2014 On Poetry I’d Like to Make You Smile By Kate Brittain When the poet William Meredith passed away seven years ago today, Poetry published the third and final stanza from his “Accidents of Birth” in memoriam: But it’s not this randomlife only, throwing its sensualastonishments upside down onthe bloody membranes behind my eyeballs,not just me being here again, oldneeder, looking for someone to need,but you, up from the clay yourself,as luck would have it, and inchingover the same little segment of earth-ball, in the same little eon, tomeet in a room, alive in our skins,and the whole galaxy gaping thereand the centuries whining like gnats—you, to teach me to see it, to seeit with you, and to offer somebodyuncomprehending, impudent thanks. It was a beautiful move on the magazine’s part, taking Meredith’s wonder and gratitude for his beloved and letting those words refer to the poet himself. When the verse is turned to epitaph, it becomes Meredith who teaches us to see; his lucky appearance in the room of our lives demands that we bow our heads, or else lift up our eyes, and stammer what thanks we are able to articulate. I met Meredith nine months before he passed away, at Bread Loaf’s annual writers’ conference, to which he’d been invited as a special guest and at which I was a student. He’d taught on the mountainside campus in the late fifties and sixties, first in the English program and then at the conference, and now he’d returned to read for us in their Little Theater, a long, skinny rectangle of a room, the walls white, the chairs wooden, the light—admitted through banks of mullioned glass doors to either side of the audience—everywhere. It was more like a chapel than a theater. Meredith read only a few poems, supported at the podium by his partner, Richard Harteis. For the remainder of the event, he sat in the front row, audience to a tribute whose meaning no one could have missed, while Harteis, Michael Collier, and Thomas Sayers Ellis offered up anecdotes and praise and read their own selections of Meredith’s work. Here was a dying man, a man who was loved. Read More
May 30, 2014 Our Daily Correspondent By Conservative Estimate By Sadie Stein Here’s a weekend recommendation for you—think of it as an extended Staff Pick, if you like. Bill and Coo was made in 1948 to showcase “Burton’s Birds,” a troupe of trained lovebirds managed by former silent-movie actor George Burton. And does it ever! The tiny, Trucolor-hued town of Chirpendale is filled with bird characters of all kinds, doing all sorts of remarkable things: working in barber shops, wearing dunce caps, performing in circuses. In this idyll, we are told, “love, happiness and contentment blend together in harmony.” That is, until the Black Menace—a crow—descends and wreaks havoc. There’s romance (the eponymous Bill and Coo), adventure, song and dance. The film won a special Oscar. A New York Times critic deemed it “by conservative estimate, the God-damnedest thing I’ve ever seen.” I adored Bill and Coo as a kid—we had a bootleg Betamax video of it—but I worried it wouldn’t hold up, or that as an adult I’d see signs of avian exploitation. (For the record, I’ve detected no indication of that, although maybe there’s an untold story that bears serious investigation.) I need not have—it is as weird, and as entertaining, as can be. A novelty, yes—but a wonderfully watchable one. The whole film is readily available online—and you’ll be doing yourself a favor if you watch it from start to finish. But here’s a taste. Read More
May 30, 2014 On the Shelf The Inner Beethoven, and Other News By Dan Piepenbring Under gastrointestinal duress. Joseph Karl Stieler’s portrait of Beethoven, c. 1819. Discovered on the walls of Angkor Wat: more than two hundred hidden paintings. An intimate new biography of Beethoven: “Suchet also presents ongoing reports regarding Beethoven’s gastrointestinal issues, which run through the book like an idée fixe. These begin with a description of the stomach pains and diarrhea that Beethoven experienced before his first concert at the Burgtheater in Vienna in 1794, followed by periodic updates on his irritable bowel syndrome, bad digestion, irregularity, acute constipation, colic, distended stomach, and more … one begins to wonder whether the book might have been more aptly titled The Inner Beethoven.” On September 18, 1970, John Cassavetes, Peter Falk, and Ben Gazzara appeared on The Dick Cavett Show. They were all completely sozzled. An attempt to categorize poetry in translation: “It seems impossible and so it is. But that is why we try, and every time we try we establish a small area of possibility. In fact if we are doing it well we are doing more than that: we are establishing an area of possibility that is itself a poem and the world is never poorer for a new good poem, which is like a new piece of knowledge of the world.” Today in protein news: in praise of alpaca meat.
May 29, 2014 Arts & Culture Poetry in Motion (and Digestion) By Dan Piepenbring G. K. Chesterton in 1909. Photo: Ernest Herbert Mills A happy birthday to G. K. Chesterton, born today in 1874. Chesterton’s 1908 novel, The Man Who Was Thursday, opens with a gem of a standoff between two rival poets. It’s a pungent, vitriolic affair, the best poet-on-poet action this side of The Savage Detectives, and in celebration of its author I reprint it here at length. To set the scene: say you’re a hotshot poet at a garden party in Saffron Park, a suburb of London where your versification is known to be the best around. But wait—some other, new poet shows up, all cock-of-the-walk. Who’s this asshole? The two of you get to exchanging words, only to find that your worldviews are not just incompatible but riven, sundered, wholly opposed. On the side of the anarchic and chaotic, there’s Mr. Lucian Gregory—“His dark red hair parted in the middle … and curved into the slow curls of a virgin in a pre-Raphaelite picture.” And defending all things orderly and punctilious, there’s Mr. Gabriel Syme, “a very mild-looking mortal, with a fair, pointed beard and faint, yellow hair.” The passage below finds them expounding, ardently and hilariously, on their respective poetics. For my money, Gregory has the more compelling argument, but Syme is the more masterful rhetorician. Read More