September 9, 2013 Arts & Culture Don’t Snip My Brakes in Long Beach By Dave Tompkins In 1977, O. J. Simpson thought he was going to Mars. Instead he was kidnapped and taken to synthetic Mars, staged at a CIA base somewhere in New Mexico. Or Arizona. Wherever. The American public bought it, just as they believed O. J. Simpson could be an astronaut. The transmission from Mars was all a conspiracy, project-managed by Hal Holbrook and NASA in the film Capricorn One. Accompanied by James Brolin and the assistant DA from Law & Order, Simpson escaped this fraudulent Mars in a Lear jet, only to crash-land in the desert. Last time we’d seen James Brolin in the desert, he was gunned down by Yul Brenner in Westworld, astonished that the Russian cowboy-robot was using real bullets. This time Brolin is rescued by Telly Savalas in a crop duster. The assistant DA from Law & Order isn’t so lucky. Nor is O. J. I remember Simpson’s eyebrows being full of sand upon realizing the birds in the sky were really helicopters. I may have writer’s block. It’s not all spaceman in the trashcan as one would imagine. (One would imagine nothing, I’d think. And I would think, if I didn’t have writer’s block, or indulge in a hopeless tautology.) But I have been thinking about O. J. on Mars with sand in his eyebrows, rather than, say, geo-acoustic mapping, torpedoes, and swamp outlaws—the real concerns of my unfinished future. Read More
September 9, 2013 Bulletin Have Questions About The Paris Review? Ask Our Editors on Reddit! By The Paris Review Pictured [l-r]: associate editor Stephen Hiltner, deputy editor Sadie Stein, digital director Justin Alvarez, assistant editor Clare Fentress, and editor Lorin Stein. Have a question about The Paris Review? How do the interviews work? What’s our pitch process? Are we a CIA front? Paris Review editors will be hosting a Reddit AMA (short for “Ask Me Anything”) tomorrow, September 10, at 3 P.M. EDT. You can read the full thread here. See you then!
September 9, 2013 History The Immortality Chronicles, Part 4 By Adam Leith Gollner What have we not done to live forever? Adam Leith Gollner’s research into the endless ways we’ve tried to avoid the unavoidable is out now as The Book of Immortality: The Science, Belief, and Magic Behind Living Forever. Every Monday for the next three weeks, this chronological crash course will examine how humankind has striven for, grappled with, and dreamed about immortality in different eras throughout history. During the Middle Ages, every alchemist worth his saltpeter tried to find the philosopher’s stone, the water stone of the wise, the miraculous stone that is no stone. It was the means to transmute base metals into gold and—more importantly—concoct elixirs of immortality. The word is Arabic in origin: al-kimia, al-khymia, or al-kīmyā. It’s how chemistry begins. Science as we now conceive it did not exist in the medieval period. (The word scientist only became commonplace in the nineteenth century, after Cambridge University historian William Whewell coined the term in 1833.) Instead, there was natural magic and philosophy—and alchemy, the experimental attempt to combine different elements and uncover the factual mysteries of nature. Read More
September 9, 2013 On the Shelf Dr. Who Poetry, and Other News By Sadie Stein “We’re trying to reorder some of the myths based on the documents.” Bolaño’s unpublished work, on view in Spain. Harper Lee and agent Samuel Pinkus have apparenty reached an “agreement in principle” to settle the eighty-seven-year-old author’s copyright lawsuit. While he might have objected to their dissemination, here are twenty-two out-of-print J. D. Salinger stories that you can read online. A crowd-funded Dr. Who poetry book? Oh, it’s happening.
September 6, 2013 Windows on the World Lidija Dimkovska, Skopje, Macedonia By Matteo Pericoli A series on what writers from around the world see from their windows. My late childhood and entire youth window. I began to write in front of this view, and while I am here, I still do, at a low, small table. On a typewriter then, on a laptop now, but preferably in a small notebook with lines. I look outside often; the pictures have become very familiar. Two brothers used to live in the building with their families and their old mother, a small, tiny woman in black who always was screaming at her grandchildren, often beating them or running after them. They also were screaming, and that noise was present in the air until the parents would come home from work. Later, I found out that they moved the grandma from the first floor to the cellar, where she died. One of her daughter-in-laws was Serbian; once, the Serbian woman sent me and my friends to the shop to buy her a special orange juice, Fructal. She opened it, and for the first time in my life I tried this juice that my family could not afford. The roof of the building was always in my view. In the mornings a stork would come to the chimney on the roof and look through my window. We looked each other in the eyes, and we understood each other. He was my sky, I was his earth’s friend. It was impossible not to write. —Lidija Dimkovska
September 6, 2013 On Translation Franzen on Kraus: Footnote 89 By Jonathan Franzen Oskar Kokoschka’s 1925 portrait of Karl Kraus. Museum Moderner Kunst, Vienna. This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from “Against Heine,” Jonathan Franzen’s translation of the Austrian writer Karl Kraus. Click here to get your subscription now! In the end, the people who never came out of their province will go farther than the people who never came into one.89 (p. 216) 89 I think there’s a lot of truth in this, but Kraus also seems to be making an implicit claim about his own decision to remain rooted in Vienna, in contradistinction to Heine. Here’s the story I tell myself about his agon with Heine. Basically, Kraus arrives too late. He’s an assimilated Jew who has an enormous facility with language but strikingly less talent with “original” forms like poetry, drama, and fiction. And unfortunately there’s already been a German-speaking Jew like him—Heine—who, worse yet, became one of the most famous and influential writers of the previous century. Kraus needs room to live and to work and to believe in the necessity of his work, and what does he have to hold on to in his struggle against his famous precursor? His feeling that there was something wrong with Heine—with the work, the man, his language. And so the story that he tells himself is that Heine was a proto-Kraus who betrayed his gifts by his moral failings and thereby betrayed assimilated German Jews, too. Heine helped create the stereotype of the rootless, linguistically facile Jew. Without Heine, no feuilleton, yes. But also: without Heine, Kraus could simply have been a great satirist who happened to be Jewish. Hence, I propose, the ferocity of the attack in this essay, and the peculiarly moral tone of it. If Kraus also sounds an anti-Semitic note, it’s because he’s trying to annihilate the bad Jew, the stereotypical Jew, so as not to hate himself. That so many Gentile German philistines are willing to forgive Heine’s Jewishness only adds to his rage. I, too, often make moral arguments about art, but on my better days I’m suspicious of them, because I’m aware of the envy, the powerlessness and self-pity, that lurks behind them. Back in the nineties, I spent a lot of time assembling a moral case against John Updike. I was offended (rightly, I still think) by Updike’s famous comparison of a writer’s work to excretion: you take in life, digest it, and shit it out in paragraphs. Updike was very proud of his three-pages-per-day regularity, and I didn’t need to know much about his personal history to imagine his mother crowing over the neatness and beauty of his daily bowel movements. My moral complaint was that Updike had tremendous, Nabokov-level talent and was wasting it, because he was too charmed by his daily dumps and too afraid of irregularity to take the kind of big literary risks that might have blocked him for a year or two. His lifelong penchant for alliteration was of a piece with this. It made reading even his otherwise fine stories about the Maples painful; I couldn’t get through more than a few lines without running aground on the anal-retentive preciousness of his prose. Updike was exquisitely preoccupied with his own literary digestive processes, and his virtuosity in clocking and rendering the minutiae of daily life was undeniably unparalleled, but his lack of interest in the bigger postwar, postmodern, socio-technological picture marked him, in my mind, as a classic self-absorbed sixties-style narcissist. David Foster Wallace was the one who actually called Updike an asshole in print (in the New York Observer), but I felt the same way. If you’d suggested that I envied Updike for his unobstructed productivity, or for all the women he got to go to bed with him (and then wrote about in graphic detail), I would only have restated my moral case more trenchantly. Later on, after Updike ceased to seem like such a threat, I went through a period of feeling deeply censorious of Philip Roth, because he didn’t seem to care about his many glaring technical deficiencies as a fiction writer, and because his admirers didn’t seem to, either. Roth’s writing seemed to me, as Kraus says of Heine’s, “always and overplainly informative,” which was why, I believed, the philistines had come to tolerate him a lot better than he tolerated the philistines. As with Updike, my judgments had a flavor of Krausian moralism: Roth was lazy, Roth was an asshole, etc. Naturally, I believed that I was merely sticking up for vital aesthetic virtues—a fiction writer ought to be able to write good dialogue, create convincing and well-rounded female characters, and let a story tell itself without discursive intrusions—but these “vital” virtues happened to coincide with some of my own abilities as a fiction writer. To make my moral case against Roth, I had to ignore or downplay other plausible virtues, most notably Roth’s heroic fearlessness of his readers’ moral judgments, because I subterraneanly envied his fearlessness and wanted people to pay attention to me and not him. This was the kind of thing that Nietzsche had in mind when he mocked the “slave” mentality of moral judgments. “Heine and the Consequences” is the document of Kraus’s struggle to overcome his great precursor. On his own terms, he may have succeeded; his best-known and most shattering work, The Last Days of Mankind (a documentary “drama” of the First World War) was written in the decade that followed. German readers, however, are not so convinced that he vanquished Heine. My friend Daniel Kehlmann, the Austrian novelist, loves the essay and grants that Kraus scores a lot of points off Heine in it. “But,” he says, “Heine is still wonderful, too.”