After two months of twelve- to sixteen-hour days, and six-and-a-half-day weeks, I began to realize I’d misread the signs that led me to the Beat Hotel. The caretaker’s house did have the advertised citrus trees, pool, fireplace and view, and the Camaro—glowing, golden—was there, too. But I hadn’t spent a single night in the house. Instead, I collapsed in a room at the Beat, got up early and went back to work. The Camaro stayed in the driveway. Worse, my fantasy about living the writer’s life in the desert was precisely that: I hadn’t written a single page. Instead of breaking my writer’s block, Steve entombed it beneath an endless, proliferating series of tasks. Read More
A story in three parts. Previously: Part 1, The Amanuensis.
I met Steve the first time I stayed at the Lautner Motel, in August of 2000. I was in California to do research for a book about trailer parks, and there was an anarchist trailer park, a place called Slab City, in an abandoned military base about sixty miles south of Desert Hot Springs. I’d brought my girlfriend and wanted to stay somewhere nice to make up for the 120-degree temperatures, so we wound up at the Lautner. It was late when we finally arrived, but almost as soon as we’d gone inside and put our luggage down, Steve knocked on the door. Read More
The other night James Franco curled up with Amie Barrodale’s story “William Wei,” from issue 197. Then he sent us the tape.
Click here for the finished, cleaned-up audio version.
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Stay tuned for more dramatic readings by fans of The Paris Review.
The writer Anne Enright, a native of Ireland, is perhaps best known for her 2007 Booker Prize winning novel The Gathering, a darkly beautiful novel about a family gathering in the wake of a suicide. In The Forgotten Waltz, her fifth novel and her first since winning the Booker, she takes up a seemingly more mundane plot: that of adulterous love. Gina, married to Conor, narrates her affair with Séan—himself married and father to a troubled daughter, Evie—which comes to a head as Ireland’s economy collapses.
It’s an affair whose outcome is known from almost the very first pages, and Enright is not interested in judging Gina or Séan—Gina believes, ultimately, that there is nothing to forgive and, if Enright does not agree with her outright, she makes Gina a sympathetic enough character that it is possible for the reader to do so. The considerable narrative pleasures of this novel lie in Enright’s luminous language, as she sketches Gina’s attempts to figure out what happened and how and why. The author, who has a quick wit and a hearty laugh, as well as a refreshingly no-nonsense attitude, spoke to me recently from the West Coast, where she was on book tour. Read More
A story in three parts.
Karl, the Beat Hotel’s ex-meth-addict handyman, stood at the top of a thirty-foot ladder, squirting a translucent goo with the brand name “Tanglefoot” onto one of the Hotel’s air-conditioner units. I held the ladder so that Karl did not pitch off into the sand and gravel below. The goo represented a new phase in our boss’s war with the pigeon population of Desert Hot Springs, California.
Our boss was Steve Lowe. Before starting the Beat Hotel, he’d performed with Laurie Anderson and read poetry with Allen Ginsberg. His gallery showed the best work Keith Haring ever did, and he made art with Richard Tuttle. Steve had also been William Burroughs’s amanuensis, a position that combined the duties of researcher, artist’s assistant, gallerist, and Official Writer’s-Block Breaker. Steve could tell stories about hanging out with William and Kurt Cobain and Patti Smith. He also recalled that, at Burroughs’s wake, he and Grant Hart, who was the drummer for Hüsker Dü, were the only people sober enough to be horrified when somebody threw up in the swimming pool. Read More
Near the beginning of Salvador, Joan Didion’s 1982 account of a repressive state in the thick of civil war, Didion goes to the mall. She’s looking for the truth of a country held in its aisles, and also tablets to purify her drinking water. She doesn’t find the tablets, but she does find everything else: imported foie gras and beach towels printed with maps of Manhattan, cassette tapes of Paraguayan music, vodka bottles packaged with stylish glasses. She writes:
This was a shopping center that embodied the future for which El Salvador was presumably being saved, and I wrote it down dutifully, this being the kind of “color” I knew how to interpret, the kind of inductive irony, the detail that was supposed to illuminate the story. As I wrote it down I realized that I was no longer much interested in this kind of irony, that this was a story that would not be illuminated by such details, that this was a story that would perhaps not be illuminated at all.
Her intelligence excavates a truth at once uncomfortable and crystalline: in the middle of a war you can’t see, you still want to look. Read More