December 26, 2013 First Person This Is Growing Up By Justin Alvarez A panel of Adam and Eve in Lorenzo Ghiberti’s Gates of Paradise. All this week, we are bringing you some of your favorite posts from 2013. Happy holidays! I had only been in Europe for two weeks when I started to feel homesick. I’d decided to study in Florence on a whim, after having vaguely planned my entire sophomore year on traveling to Prague to study film at the famed FAMU. But while for FAMU there was a separate application I would have had to fill out, Florence was a simple checkbox on the registration website. And student housing in Florence was even cheaper than at my university in New York. The general idea was to get a handful of my general education requirements out of the way and maybe even try to pick up some Italian while I was at it. I flew over to Italy with my mother, who was looking for a few days away from Chicago to take in, as she called it, la dolce vita. “I want a gondolier to sing to me, like in the movies,” she said. The gondolier spoke on his cell phone the entire time. We arrived at the Florence Airport mid-morning. On the cab ride into the city, the driver informed us that one of the city’s time-honored traditions was complaining about the tourists, and, even worse than the general run of tourists, the hordes of visiting college students. I soon found myself in a large apartment off via Guelfa introducing my mother to ten other college students and an Italian RA. My mother quickly pulled me aside. “Please don’t get into any trouble. You know what the driver said.” Read More
December 25, 2013 Arts & Culture, Our Daily Correspondent The Best Christmas Card Ever By Sadie Stein At the Paris Review offices, several of us were lucky enough to receive, in recent days, a mailing from a friend and contributor to these pages. It was a plain cream Christmas card on which was printed, “‘Merry Christmas!’ the man threatened.” —William Gaddis We all agreed it was quite the best Christmas card we had ever seen. The quote comes from Gaddis’s first novel, 1955’s The Recognitions, which, like the rest of his work, is noted for being challenging. (In his Art of Fiction interview, Gaddis objects to this characterization, preferring to think of the labor involved as “a collaboration between the reader and what is on the pages.”) And while he may not seem the most festive of authors, Gaddis might have approved: in a letter he sent his mother from Harvard in 1943, young “Bill” writes, Have got Christmas cards—fifty—do you know where that plate I had for engraving is? It must be perhaps in my desk or somewhere—I’d like to have them done and mailed from here if possible—would appreciate it if you should run across to send it up— Merry Christmas, Bill!
December 24, 2013 Arts & Culture Mysterious Skin: The Realia of William Gaddis By Matthew Erickson Most people with scholarly inclinations will visit a novelist’s literary archive to follow the paper trails, as manifested through gathered correspondence, stray postcards, marked-upon stationery, and scattered drafts. A couple of months before the recent publication of his collected letters, I visited the William Gaddis Papers at Washington University in Saint Louis in search of something near the polar opposite. I had harbored a minor obsession with the novelist for years, even before reading a single word of his writing, probably due his reputation as a writer who crafted a string of unapologetically dense works while almost entirely avoiding the fickleness of the literary limelight. I had bought a used hardcover of Carpenter’s Gothic, one of Gaddis’s shorter novels, at a library booksale just after my early-twenties Pynchon obsession had tapered off a bit. That book sat unread on a shelf for a few years until I decided to make the plunge into Gaddis’s work after seeing his specter, both his name and the titles of his books, floating through David Markson’s great anecdote—and allusion-heavy novels. More dilettante than scholar, I was on the hunt for certain pieces of the novelist’s realia, that archival category of physical, three-dimensional objects rather than the usual rectangular flatland of manuscripts. Gaddis—who wrote “only” five books over the course of a forty-odd-year career (though amounting to around 2,640 pages in total), with each tome encompassing every possible spectrum of American vernacular and obsession; who won a MacArthur Award and two National Book Awards; and who was famous, as Cynthia Ozick once put it, for not being famous enough—had one object in his collection that I had never seen in a library catalog before. I found this particular entry buried deep within the online finding aid for the Gaddis Papers: “Box 166.2/- : Zebra Skin, (1 item), Stored in oversize; box on order.” After scanning across this listing while doing cursory research for something else, I instantly became obsessed with the idea of the zebra skin in the library. What, exactly, did it look like? How was it stored among Gaddis’s papers? Why had he owned it? What was it doing in the special collections of an academic library? Read More
December 23, 2013 Our Daily Correspondent, Video & Multimedia Darkling I Listen By Sadie Stein All this week, we are bringing you some of your favorite posts from 2013. Happy holidays! Herewith, Benedict Cumberbatch reads John Keats’s “Ode to a Nightingale.”
December 23, 2013 At Work Gchatting with George Saunders By Katherine Bernard All this week, we are bringing you some of your favorite posts from 2013. Happy holidays! On Valentine’s Day, George Saunders agreed to Gchat with The Paris Review Daily to discuss his use of the modern vernacular in fiction; his new book, Tenth of December; as well as Nicki Minaj and what is, according to Saunders, one of the great undernarrrated pleasures of living. George: Hi Katherine – ready on this end when you are me: Hi George! I am prepared George: Well, I’m not sure I am. But I am willing. 🙂 me: we could just do the whole thing as emoticons :/ :l 😕 George: Man, you are a virtuosiii of emoticons. me: A symptom of my generation… George: I only know that one. me: You only know happiness, then. George: No – I only know the SYMBOL for happiness. Like, I can’t do ENNUI. Read More
December 20, 2013 Arts & Culture The Carolers By Titi Nguyen Several years ago, my mother announced she was through with Christmas trees. She and my father were tired of buying the thing, lugging it home, and decorating and taking it down. There would be no more tree unless we, their four grown children, put it up ourselves. That year my siblings and I drove to the Quincy Artery Garden Center, ten miles outside Boston, and dragged an eight-footer home. It was like wrangling an alligator; the sharp needles dug into our hands and the peak scraped against the living room ceiling, leaving a long gray trail across the “Cotton Balls” ultra-white paint my father had applied mere months before. That was the last yuletide tree at my parents’ house. Each year I’ve urged my older brother to revive this tradition; naturally, the job falls to him, since, in the Vietnamese custom, he lives with our parents in their house along with his wife and children. The rest of us have moved out. But his two jobs sometimes don’t afford him time to sleep or eat, let alone embellish a tree. My sister has her own family’s tree to tend to now, and I don’t expect my younger brother, the baby of the family, to take action. I am the biggest tree enthusiast, but my returns home from New York City are always too late. My mother firmly believes in getting maximum use out of any purchase; our pine usually went up right after Thanksgiving and lasted into late February through the Asian Lunar New Year. As a child I always thought our tree was special. My cousin’s tree, carried up from the basement each year by my uncle, looked creepy to me, the flame-retardant branches screwed into a skinny wooden pole painted green. My family kept fresh spruces that filled our living room with a peppercorn smell. The ornaments, whose individual histories and significances we’d forgotten or simply didn’t know, seemed to have come from a Goodwill bin. Most had been passed along to us by my parents’ housekeeping clients, people they cleaned for in the wealthier neighboring towns. I remember a baked clay piece shaped like a Christmas tree, looped through with green ribbon and painted in cursive across the base: Merry X-mas, Kilborns! There was also a glazed ceramic baseball player in a striped jersey holding a bat over his shoulder that read BENJAMIN; each year, we celebrated the athletic talents of some little-league slugger we’d never met. The glue on some pieces had yellowed and cracked, and various parts had fallen off—the bow on a ceramic wreath, the plastic googly eyes of a square snowman fashioned out of Popsicle sticks. Instead of the usual star, we had an angel whose rubber head was constantly rolling off. To get her onto the tree, you had to stick the top branch up her velvety skirt. Read More