May 28, 2013 Fiction Sandwich Man By Nathan Deuel Managing this chain of Subway sandwich shops in Aleppo totally blows. I’m ensuring the bread gets baked, the cheeses displayed properly, that the tomatoes are freshly sliced and that the discs of various kinds of meat do not smell strange and that all the dispensers of condiments are filled. We ran out of napkins during the last bombardment and that was fucked up, but honestly I don’t even know if the home office even knows we are still open, let alone whether we are keeping customers hands clean. They don’t seem to care! But what is worse is that my BEST assistant manager quit in order to start working as a sniper in that old hospital building—she is a total fucking saint, with a quick finger that once punched out subtotals and now rips out bullets, I guess—and all I’m trying to do is hold it together, which is why I was so relieved when I had a little time off this weekend and had the chance to take our girl to a birthday party in Beirut. She’s just three-and-a-half, which seems really young to me, but what do I know? I just manage a chain of Subway sandwich shops in the embattled Syrian cultural capital of Aleppo. I’m no expert in what children are capable of. Read More
May 28, 2013 Bulletin Announcing Our Summer Issue! By Lorin Stein The proofs of our Summer issue just arrived at Twenty-Seventh Street from the printer. This afternoon is our last chance to catch any mistakes. You always find a few typos—and we have more names to spell-check than usual, because this issue contains more stories, poems, and interviews than any in recent memory. Some of these writers are regular contributors, including Lydia Davis—with her first publication since she won the 2013 Man Booker International Prize for fiction—and David Gates, whose new story is a favorite of his and ours. Others are writers we’ve been waiting to publish for a while, namely Ben Lerner, whose first novel, Leaving the Atocha Station, is one of the best debuts we’ve seen in the past few years, and Kristin Dombek, whose essays in n+1 electrified us. The newly translated stories by Robert Walser are from his groundbreaking 1904 collection, Fritz Kocher’s Essays. This book (which won the admiration of Franz Kafka and Walter Benjamin) made me feel for the first time that I understood what all the fuss is about. Still others, including Emma Cline, Gillian Linden, and the Italian poet Patrizia Cavalli—translated by the likes of Jorie Graham and Mark Strand—are new to us and will probably be new to you. We look forward to saying, You read them here first. Plus, three interviews. Two are devoted to the art of literary biography. Michael Holroyd’s lives of Lytton Strachey and George Bernard Shaw, among others, revolutionized the study of Bloomsbury and Edwardian literary history. MICHAEL HOLROYD I am a great believer in private life, which is quite unfashionable now—to be a celebrity is the thing, or you are nothing. But I believe in private life for the living, and I think that when one is dead one should be a little bit bolder, so that the rest of us may have some record of how things actually were. Otherwise we will be left with well-meant lies, which add to the difficulties of life and lead to real misunderstanding. Hermione Lee’s biographies of Virginia Woolf, Willa Cather, and Edith Wharton are just as influential. INTERVIEWER What is it like to write a death scene? HERMIONE LEE It depends how they died. Some cynical biographer said to me, Make sure it’s a good death. Make sure you’re not picking someone who just declined. Finally, we have an Art of Fiction interview with the Nobel laureate Imre Kertész. It is, according to Kertész, the last interview he will ever give. Luisa Zielinski’s probing, sensitive questions explore the reasons that Kertész—ten years after he survived the Holocaust—decided he had to write. IMRE KERTÉSZ Look, I don’t want to deny that I was a prisoner at Auschwitz and that I now have a Nobel Prize. What should I make of that? And what should I make of the fact that I survived, and continue to survive? At least I feel that I experienced something extraordinary, because not only did I live through those horrors, but I also managed to describe them, in a way that is bearable, acceptable, and nonetheless part of [a] radical tradition … Perhaps I’m being impertinent, but I feel that my work has a rare quality—I tried to depict the human face of this history, I wanted to write a book that people would actually want to read. Subscribe now!
May 28, 2013 Arts & Culture The Great Gatsby—With a Unicorn By Oliver Miller Pause Play Play Prev | Next Oliver Miller writes for Thought Catalog and is the author of Drinking and Driving.
May 28, 2013 On the Shelf R.I.P. Mr. Merker, and Other News By Sadie Stein Kim Merker’s edition of “Within the Walls,” by Hilda Doolittle. Image via New York Times. Kim Merker, who hand-pressed beautiful poetry books for decades, has died, at eighty-one. Twenty-five signs you’re addicted to books. (In a whimsical way. Not a My Strange Addiction way.) Can you ever really own an e-book? No. Which doesn’t mean they aren’t big business at Book Expo America. Speaking of BEA … enjoy it from the comfort of your own home!
May 27, 2013 First Person Lay Your Sleeping Head, My Love By Christina Thompson Winslow Homer, Rowing Home Three years before my mother’s final illness she had a major stroke. It was not a typical stroke—more cascade than cataclysm—but when it was over it had laid her low as effectively as a bolt of lightning. At first, we didn’t know if she would live or die. She couldn’t move any part of her body, couldn’t speak, couldn’t swallow. This last was particularly distressing—swallowing is such a primitive function, but the stroke, it seemed, had struck a primitive part of her brain. During those first few nights I sat by my mother’s bed in the dim double ward, the curtains drawn between us and the other occupant, who coughed feebly and rustled like an animal in the walls of a house. My mother breathed quietly, the lights on her monitors blinked and glowed. Occasionally an alarm would go off somewhere down the hall with the high, persistent beeping that hospital staff, remarkably, never seem to notice. I sat there for I don’t know how many hours, drifting in and out of exhaustion and anxiety, and at some point a fragment of poetry came into my mind. “Lay your sleeping head, my love, / Human on my faithless arm . . . ” Over and over it played in an endless loop, while I racked my brains to identify it. It was definitely something I knew, but I couldn’t even think what century it belonged to. For some reason it became incredibly important to me to figure out what it was. Read More
May 27, 2013 Arts & Culture War Memorial By Rebecca Sacks They commute with guns. A lot of Israeli soldiers live at home while they do their mandatory service, and, like me, they take the bus to work every day. I’m a student so for me that means carrying four different translations of the Qumran wisdom texts to the university campus. They carry what I think are semi-automatics. We all take the bus together. There is a language to the army uniform that I cannot read. If you know these things, you can tell what part of the armed forces someone is in by the color of his or her beret. The red ones seem tough, I know that. The uniforms themselves are different colors too: a standard green, a nappy white, a khaki. The grey-blue ones tend to have broad shoulders and handguns tucked into their pants. It took me a long time to realize they had holsters under their trousers: I thought the guns were being held in by their underwear elastics, and could fall any moment. From this information, a literate person lays the bones of their expectations for the soldier they see, if she sees them at all. I think most people don’t even notice them. One thing I cannot get used to in Israel is a kind of suspension of horror: that the mechanisms of danger and violence are laid bare and become mundane. Through what I’ll call a willful innocence, this is something I resist fully. I notice every soldier, every gun. Guns they tote indifferently on the bus, in the mall, getting ice cream, at the beach. Obviously they can’t spend several consecutive years (required service is two for young women, three for men) having anxiety attacks about whether or not it’s emotionally damaging to develop a familiar relationship with weapons. Luckily for them, they have me to do that. The exception to the soldiers’ invisibility is during a series of memorials, which occur in Israel over a period of two weeks. First is Yom HaShoah, or Holocaust Remembrance Day. This is a day of ceremonies: candles are lit, and you will hear testimony from the dwindling population of survivors. This year it was on April 7 (holidays here are kept by the lunar Jewish calendar). It is marked by a one-minute siren at ten A.M. For a memorial siren, everyone stands. No matter where you are, you stop and stand. The entire country has this really effective PA system. It reminds me of that scene in The Hitchhiker’s Guide to the Galaxy before Earth is bulldozed, when every physical object becomes a transmitter. The memorial siren is similar to the siren that sounds when there are rockets falling but it is one single tone instead of a falling and rising pitch. This is so that if rockets fall during the siren, you know to seek cover. A week later is Yom HaZikaron, Memorial Day; this year on April 15. It is in remembrance of Israelis who have died in war and terror attacks. The year’s dead are added to a list. The day starts the evening prior (in accordance with the Jewish calendar), marked with a two-minute siren. At this point, the entire nation gives itself forty-eight hours to focus on the soldiers. The TV stations play a continuous loop of short documentaries on the lives of the dead—heartwrenching tributes with interviews and blurry home-videos. The radio stations play only sad, traditional music. At 11 A.M. on the day-of, there is a second two-minute siren. There are ceremonies that evening and, at the end of the memorials, Yom HaAtzmaut (Israel Independence Day) begins immediately: whiplashing the nation into July Fourth mode. Opinions on this model, and the sudden change in attitude (grievance to celebration) are mixed in Israel. My friend just left the army, after six years of service. He asked that I call him Ido instead of using his real name, and who am I to argue. So: Ido. This was Ido’s first post-army Yom HaZikaron. He said this year he was in his car, driving, when he realized the siren would go momentarily. Perhaps they said something on the radio. He pulled over, with every other car on the road, got out, and stood by his car, with the door open. He probably ended up in a Reuters photograph. He said it was strange to be in civilian clothes, to be a civilian, on that day. When you are a soldier, everyone looks at you on Yom HaZikaron: you are at the center of something that now he felt slightly peripheral to. In the past, during the siren, he has raised his hand in salute (a gesture exclusive to officers during the siren); this year he has stood with his hands folded by his car. I asked where he would look (I was never sure where to look during the sirens) in those days. “At the flag,” he said. Read More