November 18, 2013 Video & Multimedia Incest Taboo By Sadie Stein Presented without comment: the trailer for the (appropriately lurid) Lifetime adaptation of Flowers in the Attic.
November 18, 2013 First Person Amateur Night By Adam Wilson Image via Pod Collective Instead of attending my ten-year high school reunion I went to a psychic healer. This was the Boston suburbs, on the eve of Thanksgiving. Annually, on the night in question, prodigal Massholes in the eighteen-to-thirty-five demographic flock to the bars in Allston, Brighton, and downtown Boston for both informal and official reunions. Said reunions are marked by blackout binge drinking, vomit-flooded gutters, vomit-mouthed makeout sessions, and less-than-sober car rides back to the suburbs in mom-borrowed minivans. Boston radio DJ’s have euphemistically dubbed it “Amateur Night.” If this sounds appealing, then we may have been friends in high school—at least in a superficial, pass the blunt kind of way—but no longer have much, if anything, in common. I don’t mean that to sound snobbishly pejorative. I grew up just outside of Boston, in Newton, Massachusetts, a wealthy white enclave famous for Fig Newtons, a high concentration of psychiatrists, and its recent reign as CQ Press’s safest city in America. It is a place filled with driven parents and overachieving children; of the roughly 350 students in my graduating class, nearly a dozen went to Harvard, not to mention all those who attended safety schools like Princeton, Brown, and Cornell. Many of my former classmates have gone on to great success. But high achievement and Frat Boy idiocy are not mutually exclusive. Like Clark Kent, my former classmates slip easily from business attire to superhero casual, removing stiff shirts at happy hour to reveal Red Sox logos. By day they are lawyers, doctors, and titans of industry. By night they drop their ‘r’s and instigate fisticuffs with tough-talking townies. In part, this performance reeks of rich kid guilt—it’s a certain kind of slumming—but more so, I think it speaks to something particularly Bostonian, a product of drinking too much dirty water, or years spent sitting in obscured view seats at Fenway, or a Kennedy-inherited Irish McLiberalism, in which money is disconnected from decorum. I know all of this—the styles and habits of my former classmates—through Facebook, of course. I have followed these classmates for years online, sharing in their triumphs and tragedies, comparing my sex partners to theirs. In a sense, social media has rendered reunions obsolete; it has killed our curiosity. No longer does one attend a reunion wondering whatever happened to so-and-so, or shocked that the band geek has blossomed into a beauty. And though romantic comedies have emphasized the important role reunions can play in the healing of one’s high-school psychic wounds, the truth, these days, is that life’s winners have already etched their humble brags into our collective conscience online. But maybe I was just bitter and embarrassed. It’s not that I was in such bad shape ten years on—I’d managed to kick a drug habit (Tylenol PM), move out of my parents’ basement, and trick a wonderful woman into dating me—but that in a group of high achievers, I was definitively unimpressive. After a long period of unemployment, I had moved to New York and become the cliché of a struggling writer, working part-time in a bookstore, publishing occasional TV recaps online, and squeezing into the skinniest jeans I could manage. I’d received a number of rejections on my autobiographical novel about a twenty-something stoner who can’t get over high school. Read More
November 18, 2013 Arts & Culture Recapping Dante: Canto 7, or Hell by the Numbers By Alexander Aciman Gustave Doré, “Virgil rebukes Plutus at the entrance to the fourth circle,” 1885. This fall, we’re recapping the Inferno. Read along! Canto 7 opens with Plutus, the god of wealth, babbling unintelligibly at Dante and Virgil. Pape Satàn, pape Satàn, aleppe!, he shouts, a phrase that has left readers and scholars baffled ever since it was written. Many offer their own interpretations, but there is never enough evidence for any critic to settle definitively on a single meaning. Virgil, however, responds to Plutus as though the cry is somehow intelligible to him; Plutus doesn’t want to let the pair pass because he has been tasked with keeping the living out. Again, Virgil works some Roman magic and is able to pass by. This canto is one of the first instances in which the sinner’s condition in the afterlife begins to correspond almost unambiguously to the sin committed. Here, Dante and Virgil come across avarice and prodigality. The Hollanders note that the reason the avaricious are shown with their hands closed is as a reminder of their greed. The prodigal have their hair cropped to show inattention to property. Virgil gives Dante a discourse on fortune, and, in brief, explains to Dante that fortune is impartial, and that the unlucky are quick to revile fortune, which Virgil suggests is a misguided aggression since in fact fortune couldn’t care less what people have to say. The two carry on and stop at the Styx. But let’s see what happens of we break this canto down. Read More
November 18, 2013 In Memoriam Doris Lessing, 1919–2013 By Sadie Stein Photo: Warner. INTERVIEWER Do you have any things you would have done differently, or any advice to give? LESSING Advice I don’t go in for. The thing is, you do not believe I know everything in this field is a cliché, everything’s already been said, but you just do not believe that you’re going to be old. People don’t realize how quickly they’re going to be old, either. Time goes very fast. —Doris Lessing, the Art of Fiction No. 102
November 18, 2013 On the Shelf RIP Doris Lessing, and Other News By Sadie Stein Doris Lessing has died at ninety-four. “The adamant child became the adamant adult. She truly had ice in her veins. She believed that her insight and her talent were unique, and she may well have been right.” Justin Cartwright pays tribute. Library copies of Fifty Shades of Grey have been found to carry traces of herpes and cocaine. How Philip Roth gets geriatric sex wrong.
November 15, 2013 In Memoriam William Weaver, 1923–2013 By Sadie Stein “Some of the first books I read or that my father read to me were translations, although I didn’t know they were translations because in those days the translator often wouldn’t even have his name on the book. I remember a French book, Sans famille, called in English Nobody’s Boy, which my father read to me when I was four or five. It was about a little orphan boy who runs away from the orphanage and goes off with an Italian organ-grinder who has a pet monkey and a lot of stray dogs, all of them with names. Since I came from a large family with all these older brothers and sisters, the dream of my life was to be an orphan, so I thought, Oh, this lucky kid. He’s an orphan, and he gets to wander the roads with all these animals and this nice Italian. I thought it a great happy book, but you were supposed to be dissolved in tears from beginning to end. My father understood perfectly.” —William Weaver, the Art of Translation No. 3