August 2, 2013 The Poem Stuck in My Head And Tremble By Sadie Stein As a child, I had a morbid fear of the Shelley sonnet “Ozymandias.” (In the pantheon of night terrors, it ranked only behind the cover of the Sweeney Todd LP, which lived in our living room, and the ghost of Ty Cobb, who lived in my closet.) I guess it was in the children’s poetry anthology my mother would sometimes read from. I interpreted the poem extremely literally: any messages about the way of all flesh and the death of empires was lost on me, and I envisioned, instead, merely a series of monstrous limbs, and a sneering head, coming to life Bedknobs-and-Broomsticks-style, and chasing me around. (Later, in high school, I took to secretly calling this one really arrogant nerd with excellent posture Ozymandias, because I was cool like that, but really that’s a story for another day.) I would have been absolutely terrified of this Breaking Bad promo, in which Bryan Cranston reads the poem to the accompaniment of an ominous drumbeat. In fact, I still sort of am.
August 2, 2013 This Week’s Reading What We’re Loving: Pulp Fiction, Struggles, Kuwait By The Paris Review Troubled Daughters, Twisted Wives, an anthology of “domestic suspense” fiction written by women between the forties and the seventies, makes for perfect subway reading: not only are the stories magazine-short, but the book’s terrific, pulpy cover is a real conversation starter. In her introduction, editor Sarah Weinman makes a compelling case for the genre’s subversive impact, both on society and the modern psychological thriller. But influence aside, the stories are just plain fun: whether it’s Patricia Highsmith’s highly-strung nanny, Shirley Jackson’s paranoid runaway, or a noirish housewife with a sinister secret, the cast of characters will haunt you long after you’ve reached your stop. —Sadie Stein My first read through Geoffrey O’Brien’s new collection, People on Sunday, induced a kind of dazzled bafflement. The language is precise but the turns are hard to follow: “It’s the opposite / of dreaming,” he explains in one poem, “except that objects / are alive and episodic, connected / by comforting blurs.” I especially liked a poem set in New Mexico (“This land was always postnuclear, / Out of time while in it”), and another about riding the F train (“it’s embarrassing / still to be riding this system, antiquated / As reading a newspaper or choosing / The semicolon”). After a second and third reading, I find that O’Brien’s most urgent theme is the difficulty of writing public-spirited poetry at a time when “the poem / Is now believed to be the most distant / Object ever seen.” You might think this would make for a poetry of despair or irony, but oftentimes it’s just the opposite: “We decided to rebuild our home again / In the intermittent sun, strangers with arms / Linked to protect the thing behind them.” —Robyn Creswell Read More
August 2, 2013 On the Shelf The Strange Saga of the Jane Austen Ring, and Other News By Sadie Stein Thwarted in her quest to bring Jane Austen’s One Ring to the U.S., singer Kelly Clarkson has been forced to commission a replica. The Amazon powers that be have ensured that Vonnegut fan fic is now legal, and one can buy it via Amazon. “Bill Pilgrim, unstuck in time, is going to quickly become a Kindle Worlds favorite,” says a member of the Vonnegut trust, ominously. “I stay away from applied fields—it is my only ethical standard as a ghostwriter. I will not help a nurse to qualify on false pretenses: who knows, it might be my parents who find themselves in their care.” Confessions of an essay-mill writer. Presented without comment: “A Massachusetts resident pleaded guilty to stealing over $600,000 worth of books, audiobooks, and Legos.”
August 1, 2013 On Film Hollywood Indian By Katie Ryder Image from D. W. Griffith’s film The Squaw’s Love, 1911 At the turn of the nineteenth century into the twentieth, a young Abanaki Native American woman named Margaret “Soaring Dove” “Dark Eyes” Tahamont moved from her home in the Adirondacks across the country to Los Angeles to play in the moving pictures. She was born in Indian Lake, New York, where her extended family—a mixed group of Abanaki, Oneida, and Anglo ancestry—had been well established since the town’s founding, owning substantial land, running an inn for visitors to the region from New York City, and employing many town residents as laborers. Margaret, born Camp, judging from all photographs of her Indian Lake family, was raised in the costume of any white northerner. Her cousin Emma, near Margaret’s age, can be seen wearing a high loose bun, plush woven hats, and carefully tailored dresses covering from the high neck to the wrist, puffed at the sleeves, pintucked across the bodice, and lightly trimmed with lace. But Margaret moved to Los Angeles to perform as an Indian in plays, Indian hobby societies, and early silent films. She now wore long braids, leather, beaded headbands, moccasins, and performed under the name Dove Eye. Her husband Elijah Tahamont, or Dark Cloud (also Abanaki, from Quebec), had been acting in silent films made in the Adirondack region—what would later be known as the “eastern Westerns”—including at least a few with soon-to-be famed director D. W. Griffith, and when eastern production companies began to move west to join nascent Hollywood corporations, the Tahamonts went along. Elijah, as Dark Cloud, played in over thirty titles; Margaret in at least five silent shorts, and likely more—the idea of preserving film and film records still lying a bit ahead on the horizon. Read More
August 1, 2013 Arts & Culture Big Box By Sadie Stein An abandoned Walmart in McAllen, Texas, is now the largest single-floor public library in America. The 124,500 square foot space contains sixty-four computer labs—three for teenagers, ten for children, two specifically devoted to genealogy—an art gallery, a used bookstore, and a café. (Oh, and an “acoustically separated” lounge for teens. The planners either love or hate teenagers, perhaps both.) Check out the whole space here.
August 1, 2013 At Work The Eyes Have It: A Visit with Lisa Hanawalt By Yevgeniya Traps If the title of her “one-woman anthology” of comics is to be believed, Lisa Hanawalt’s eyes are dirty and dumb. We should all be so lucky: according to My Dirty Dumb Eyes, they allow her to imagine fashionable animals in haute-couture hats, give her insight into the secret lives of chefs (did you know that “Mark Bittman is a vegan before 6 P.M. and a cannibal after 11 P.M.”?), and help her envision some unconventional uses for wedding registry gifts. With its leitmotif blend of whimsy, wistfulness, and a touch of scatology, the book is funny and life-of-the-party loud. In person, however, Hanawalt is a little shy and a little earnest. It’s not that she takes herself seriously—it’s just that talking about her work seems to feel a little weird. Which is not to say that her comics are improvised or intuitive; in fact, she maintains a running list of ideas with Notational Velocity, working and reworking concepts until they are just right. This demands patience and perseverance: sometimes the idea lies dormant for years until it’s finally time for it to come out and play. When we met last month in her Greenpoint studio, Hanawalt proudly showed off her Wacom Cintiq, “the most incredible modern invention—besides a dishwasher” she’s ever owned (it’s an interactive pen that allows her to draw and edit directly on her computer screen), talked about some of her recent comics (“It’s all toilet-based humor”), and considered life after art school (she went to UCLA) and the differences between LA and NY. I think the way I was looking at this book was like, This is the world through my eyes. That was the easiest way to explain what the hell this book was. I couldn’t point to another book, and be like, That’s the book I’m going to make. So okay, the world through my eyes, what is that world? Well, I see a lot of dirty stuff, and I see a lot of dumb stuff. And it’s sort of just me, trying to be more debased or humorous as a way of entertaining myself. Read More