February 12, 2014 Bulletin Get Ready to Revel By Dan Piepenbring Just when you thought you couldn’t wish for spring any more fervently, news arrives of our Spring Revel. Save the date: on Tuesday, April 8, writers, poets, artists, editors, readers, supporters, eminences, patrons of the arts, bon vivants, and other all-around admirable sorts will convene at Cipriani 42nd Street for a legendary evening. Women’s Wear Daily calls the Revel “the best party in town”; Mary Karr calls it “prom for New York intellectuals.” This year, we’ll honor Frederick Seidel with the Hadada Award, to be presented by John Jeremiah Sullivan. Lydia Davis will present the Plimpton Prize for Fiction; Roz Chast will present the Terry Southern Prize for Humor; and Martin Amis, Charlotte Rampling, and Zadie Smith will all read. There will be dinner, and cocktails, and unabated merriment, thanks in no small part to our event chairs, Chris Weitz and Mercedes Martinez. We’d love to see you there! Tickets and tables are available now.
February 12, 2014 Arts & Culture River of Fundament By Andy Battaglia Matthew Barney’s singular new film. Pause Play Play Prev | Next Matthew Barney’s studio, the birthing place of some of the biggest and most ambitious art of our time, sits in an industrial New York netherzone by the East River in Queens. A couple blocks down is a garage for cast-off food carts in states of obliteration and disarray. On the streets stroll workers whose sturdy coats solicit calls to 888-WASTEOIL, for the service of all waste-oil wants and needs. Alongside the studio the mercurial river flows, its current changing direction several times a day. Inside are forklifts to move things like six-ton blocks of salt and sculpturally abetted Trans Ams. Football jerseys hang on a wall, including one for the fabled Oakland Raiders center Jim Otto (his number, 00, puts Barney in mind of extra-bodily orifices). A staff of a half dozen studio hands oversees projects of enterprising kinds, from building and bracing large architectural oddities to disrupting and destroying sculptures and letting objects rot. It was here that Barney completed River of Fundament, a new epic film project premiering this week at the Brooklyn Academy of Music, with a running time of nearly six hours (including two intermissions) and passages that play as extravagantly abstracted and absurd. The film was inspired by Norman Mailer’s 1983 novel, Ancient Evenings, set in ancient Egypt and invested in stages of reincarnation that come after death. The story would not seem to be eminently filmable. But River of Fundament is not exactly a film. It draws on a series of site-specific performances and elaborate happenings—live actions related to the project date back as far as 2007—and all of them, however cinematically presented in the end, fit as sensibly within the traditions of theater and opera. Shoots lasted for days, doubling as rituals or séances, with characters performing for an audience that would come to be part of the work. Read More
February 12, 2014 Bulletin WWDD? By Dan Piepenbring Dorothea Brooke and Will Ladislaw. Illustration: the Jenson Society, New York, 1910. This afternoon at one, join our contributing editor (and, of course, daily Daily correspondent) Sadie Stein for a live Web chat with Rebecca Mead, hosted by Jezebel. The topic: What Would Dorothea Do? In honor of Mead’s engaging new book, My Life in Middlemarch, they’ll be discussing, as Sadie says, “George Eliot, Dorothea Brooke, what the novel can teach us today, plus life, love, and, yes, sex in Middlemarch.” It promises to be a lively and enlightening discussion about a lively and enlightening novel. For my money, whenever I make eyes at someone, which, as you can imagine, is almost constantly, I still think of a line from Middlemarch: “They were looking at each other like two fond children talking confidentially of birds.” And whenever I confront the dubiety of my future: “Even Caesar’s fortune at one time was, but a grand presentiment. We know what a masquerade all development is, and what effective shapes may be disguised in helpless embryos.—In fact, the world is full of hopeful analogies and handsome dubious eggs called possibilities.” And whenever I encounter a physically unattractive person: “It is so painful in you, Celia, that you will look at human beings as if they were merely animals with a toilette, and never see the great soul in a man’s face.” And whenever I’m too hungover to pull up the window shade: “We must keep the germinating grain away from the light.” (I think of myself, you see, as germinating grain.) If you haven’t read Middlemarch, you still have a few hours to catch up before the chat. In all honesty, though, you should read Middlemarch. Believe the hype. It is the best.
February 12, 2014 On the Shelf The First-Ever Fuck, and Other News By Dan Piepenbring Image via io9 Behold: the first written use of fuck, from 1528, inscribed by a monk who seems to have been pretty pissed off with an abbot. “Kicking against the pricks becomes rather less impressive when the pricks have melted away.” Taking a hatchet to the Hatchet Job of the Year. Wes Anderson’s new film, Grand Budapest Hotel, is by his own admission “more or a less a plagiarism” of the works of Stefan Zweig. Will the movie renew American interest in Zweig’s writing? An “edit-a-thon” aims to close the gender gap on Wikipedia, to which far more men contribute than women. Though as the Newsweek reporter Katie Baker tweeted, “Maybe few women edit Wikipedia because they do enough thankless unpaid labor already.” “Emptying the Skies,” Jonathan Franzen’s 2010 essay on the poaching of migratory songbirds, is soon to be a documentary. Toby Barlow’s Write-a-House, a residency program that gives houses to writers, is still a bit shy of its fundraising goal, but there’s a week left in the campaign—help out.
February 11, 2014 Events Tonight: Rachel Kushner and James Wood By Dan Piepenbring Photo: Lucy Raven Tonight at seven, Rachel Kushner launches the paperback edition of her wonderful novel The Flamethrowers—she’ll be in conversation with The New Yorker’s James Wood at the Powerhouse Arena, in Dumbo. (Note to the uninitiated: it’s a bookstore, not an arena, though it would be something to live in a world where a Kushner/Wood bill could sell out Madison Square Garden.) As we mentioned briefly yesterday, The Flamethrowers is one of eight books to have been shortlisted for the inaugural Folio Prize, the first major English-language book prize open to writers from around the world. Its aim? “To celebrate the best fiction of our time, regardless of form or genre, and to bring it to the attention of as many readers as possible.” Kushner is in good company: the other nominees are Anne Carson, Amity Gaige, Jane Gardam, Kent Haruf, Eimear McBride, Sergio de la Pava, and George Saunders. The winner will be announced on March 10; we wish her the best of luck. But perhaps these recent developments aren’t enough to slake your Kushnerphilia. Should this be the case, we recommend her short story “Blanks,” excerpted from The Flamethrowers in our Winter 2012 issue. Or, from that same issue, the collection of art and photography she curated—images that inspired the novel. Or her interview with Jesse Barron, published on the Daily last year. You can also read James Wood’s acute review of The Flamethrowers, published last year in The New Yorker—a fitting appetizer for his conversation with Kushner tonight.
February 11, 2014 On Food, Our Daily Correspondent Strawberry Fields By Sadie Stein Photo: Ash Berlin, via Flickr It has been some years now since I mastered the art of dressing strawberries in tuxedos. I was first introduced to the skill at a friend’s baby shower in Rhode Island; a young woman demonstrated how one dipped the strawberry in white chocolate, and then, after letting it dry, dipped it again, at an angle, in milk chocolate. One appended a small chocolate bow tie and perhaps, with a toothpick, shirt studs. (And, if feeling really ambitious, made a distaff counterpart, all in white chocolate.) My first strawberry-in-a-tuxedo looked like he had just come off a week-long bender. His lapels were smudged, his bow tie askew. But by the time I had dipped my fifth—I think we were supposed to stop at two, but I couldn’t—that out-of-season berry was a veritable Brummel. (Just in case one of them needed to attend a summer dinner-dance or something, I made one in a white dinner jacket, too.) The trick is letting it dry properly between dips, and holding it aloft while it does so. Read More