May 14, 2014 Look Strindberg’s Landscapes By Dan Piepenbring Pause Play Play Prev | Next Fact: August Strindberg could paint. Though he was always more renowned for his plays and novels, he was a prolific artist, producing more than one hundred works over the course of his life. In their brooding expressionism, his paintings were every inch as forward-thinking as his contemporaries—he counted Gauguin and Munch among his friends—and his work received enough notice that in 1894 he published an essay on his methods in a Parisian journal. Strindberg, who died today in 1912, had an array of interests: at various points, he turned to painting, photography, telegraphy, theosophy, alchemy, and Swedenborgianism, a sect of Christianity that denied the Holy Trinity. The plenitude of his hobbies made him, depending on whom you asked, a polymath, a dilettante, or an insane person. Strindberg tended to paint only in times of grave crisis, when he found himself too distraught to write. Maybe accordingly his landscapes are seldom sylvan, his seascapes seldom serene, and his skies seldom sunny. In 2001, Cabinet published a well-observed essay by Douglas Feuk about Strindberg’s vatic art: In his paintings there is always a “motif”—often stormy skies, agitated waves, perhaps a lonely rock by the sea. But these landscapes or seascapes are still half-embedded in the material, like a world in the process of being created. Boundaries and differences are fluid: Air might have the same density as stone, and the rock seems mysteriously fused with the water—as if they were all but different manifestations of the same matter. In fact, the tactile surface in Strindberg’s paintings is at times emphasized so much that not only does it provide an image of nature, it also, in part, gives the impression of being nature. In the painting High Sea, for example, there are sections that Strindberg has blackened with a burner, but also patches of a brownish-gray, rough structure that seem to be not so much painted as oxidized, or in other ways created by some elementary process of nature.
May 14, 2014 Arts & Culture The Making of an American By Edward White Carl Van Vechten shaped and burnished the legend of Gertrude Stein. Carl Van Vechten’s iconic 1935 portrait of Gertrude Stein Tender Buttons, Gertrude Stein’s collection of experimental still-life word portraits split into the categories of objects, food, and rooms, and which—excluding a vanity publication in 1909, which she paid for herself—was the first of Stein’s work to be published in the United States. Stein had hoped that this enigmatic little book would be her big break, the thing to convince the American people of her genius. That was not to be. Tender Buttons left critics bemused and made barely a dent on the consciousness of the wider reading public. There was no great clamor for more of her writing; Stein would have to wait another twenty years to become a household name. Nevertheless, the publication of Tender Buttons is now widely regarded as a landmark in American literary modernism, the moment when one of the most influential writers of the twentieth century first unfurled her avant-garde sensibilities before the American public. That moment would never have arrived had it not been for the work of Stein’s most important champion, Carl Van Vechten, the man who arranged for the book’s publication. Little remembered today, Van Vechten was a pioneering arts critic, a popular author of tart, brittle novels about Manhattan’s Jazz-Age excesses, an acclaimed photographer, and a flamboyant socialite whose daring interracial cocktail parties were a defining part of Prohibition-era New York’s social scene. But his greatest legacy is as a promoter of many underappreciated American writers, artists, and performers who went on to gain canonical status. Names as diverse as Langston Hughes, Paul Robeson, and Herman Melville all felt the effects of Van Vechten’s boost. His first great cause was Gertrude Stein. He did more than anyone else to carve her legend into the edifice of the American Century, arranging publishing deals for her, photographing her, and publicizing her work, a task he continued long after her death. Stein knew how crucial Van Vechten was to her career—not merely in the practical aspects of getting her work into print, read, and discussed, but in helping create and disseminate the mythology that surrounds her name. “I always wanted to be historical, almost from a baby on,” Stein freely admitted toward the end of her life. “Carl was one of the earliest ones that made me be certain that I was going to be.” Van Vechten and Stein were strikingly different, led wildly different lives. Hers was rooted in the domestic stability she enjoyed with her partner Alice B. Toklas; his was an exhausting whirl of binges, parties, and pansexual escapades. But they had two crucial things in common: the conviction that Gertrude Stein was an irrefutable genius and a love of mythmaking, an obsession with re-scripting reality until they became the central actors in the fantastical scenes that unfolded in their heads. When Stein played fast and loose with the facts in her memoirs, The Autobiography of Alice B. Toklas, many were furious over her distortions. But Van Vechten understood that telling the literal truth about her life—or anybody else’s—was never Stein’s concern. Read More
May 14, 2014 On the Shelf Vancouver in Neon, and Other News By Dan Piepenbring Photo: Vancouver Public Library “University presses don’t just publish books: they keep books in print and rescue out-of-print books from obscurity … But the digital age complicates and threatens the mission of the country’s approximately 100 university presses. Ellen Faran, who has an MBA from Harvard and is the director of MIT Press, recently told Harvard Magazine: ‘I like doing things that are impossible, and there’s nothing more impossible than university-press publishing.’” Almost every book set in Africa seems to have the same cover art: “an acacia tree, an orange sunset over the veld, or both … the covers of most novels ‘about Africa’ seem to have been designed by someone whose principal idea of the continent comes from The Lion King.” (Plug: Norman Rush’s Whites, Mating, and Mortals, all set in Botswana and all excellent, have acacia-free covers.) Why have we ceased to eat swans? “Often served at feasts, roast swan was a favored dish in the courts of Henry VIII and Elizabeth I, particularly when skinned and redressed in its feathers and served with a yellow pepper sauce.” Midcentury Vancouver “had the second-most neon signs per capita on the globe, after Shanghai … neon signs fell victim to a ‘visual purity crusade’ in the 1960s. Critics thought that the neon cheapened the look of the streets, and obscured Vancouver’s natural beauty. (‘We’re being led by the nose into a hideous jungle of signs,’ wrote a critic in the Vancouver Sun—a newspaper whose headquarters was prominently bedecked in neon—in 1966. ‘They’re outsized, outlandish, and outrageous.’)” Remembering the artist Richard Hamilton: “One evening, Hamilton told me he had developed a method for photographing the toaster prints, so as not to interrupt the surface with his own reflection: he would move his tripod off to one side to take the picture, later returning each image to its original orientation using Photoshop. Today, when I think of Hamilton, I think of that illusive process: the mirrored surface, the lens’s sidelong glance, the almost complete disappearance of the artist from the work—like a hotel lobby that someone has just walked out of.”
May 13, 2014 Look For Man and Beast By Dan Piepenbring Pause Play Play Prev | Next The Internet will lead a traveler down strange byways. I no longer remember where I started, but here I stand, at the end of a circuitous and occasionally treacherous path, suddenly full of facts about Merchant’s Gargling Oil. Let’s not linger on how I got here. I’m as confused as you are. Merchant’s Gargling Oil is “a Liniment for Man and Beast,” a catch-all salve first produced by George W. Merchant, a druggist, in 1833. Who can guess what compelled Merchant to whip up that first batch of petroleum, soap, ammonia water, oil of amber, iodine tincture, benzine, and water? Who still can say what frame of mind found him slathering this unguent on his skin? And who, at last, will stand up and tell me why Merchant saw fit to market his concoction as “Gargling Oil” even though he intended it primarily for external use? These mysteries belong to the ages. More certainly, we can say that Merchant’s Gargling Oil was intended to treat burns, scalds, rheumatism, flesh wounds, sprains, bruises, lame back, hemorrhoids or piles, toothache, sore throat, chilblains, and chapped hands; that the Merchant business was successful enough to produce a promotional line of almanacs, songbooks (“songsters”), and stamps; and that horses were evidently crazy for the stuff. Beyond that, this Gargling Oil is awash in contradictions. For instance, despite its external uses, you could, if you wanted to, take it internally: Read More
May 13, 2014 Our Daily Correspondent Three Short Stories About Deviled Eggs By Sadie Stein Photo: JeffreyW, via Flickr I. Once, when I was very young and foolish, I threw a party, the refreshments for which consisted exclusively of deviled eggs. Mind you, there was some variety: I made deviled eggs with bacon, deviled eggs with horseradish, deviled eggs with pickle relish, even a highly dubious specimen involving salmon roe. Each one was topped with something different—paprika, chopped chives, green peppercorns—and boasted a small sign. Keep in mind that this was many years ago, before we knew smoked paprika, let alone eggs stuffed with smoked trout or sriracha, but I tried. (I had also not yet discovered Durkee Famous Sauce, which would revolutionize my egg-deviling.) On this long-ago day, in my innocence, I boiled and mashed and stuffed and garnished for hours, and at the end it seemed to me that I had never seen anything so beautiful as that table full of deviled eggs. No one else was that into it. Even people who like deviled eggs seemed to understand instinctively that half their power came from their preciousness. I had to eat so many that I was sick, but I still loved them. The party was a failure. II. The single worst deviled egg I’ve ever eaten was in Maine in the summer of 2008. By this time I had eaten my way around town, having consumed all manner of deviled eggs—some good, some bad—but never before or since had I encountered an abomination like this. Here was what was in the deviled egg: egg yolk and horseradish. No salt, so mayonnaise. I had not known such degradation was possible. I had to throw the balance into a garbage can set under a pine tree. We had accidentally decided to picnic on a gay beach, and when I went to throw the egg away, I came upon a man giving another man a blow job in the woods. Read More
May 13, 2014 Events The Norwegian-American Literary Festival Comes to New York By Lorin Stein For the last two years, a small group of American writers and critics has convened in Oslo for a series of informal lectures, interviews, and discussions. Dubbed the Norwegian-American Literary Festival, this unlikely gathering has introduced packed houses to the likes of Donald Antrim, Elif Batuman, Lydia Davis, Sam Lipsyte, and John Jeremiah Sullivan, and—on the American side—has helped spread word of contemporary Norwegian masters including Karl Ove Knausgaard, Joachim Trier, and Turbonegro. Now, for one night only, The Paris Review is proud to welcome the Norwegian-American Literary Festival to New York. On Wednesday, May 28, join us at Chez André in the East Village to hear Claire Messud and James Wood in conversation with the Norwegian novelist Linn Ullmann, followed by rare musical performances by James Wood and John Jeremiah Sullivan. Liquid refreshments will be served. Admission is free, but space is limited—reserve tickets for you and one guest now by e-mailing us at [email protected].