April 11, 2013 Arts & Culture Laughing in the Face of Death: A Vonnegut Roundtable By Je Banach “Birds were talking. One bird said to Billy Pilgrim, ‘Poo-tee-weet?’” —Slaughterhouse-Five, by Kurt Vonnegut A well-constructed e-mail and some guts on my part had one day inspired Harold Bloom to send me the phone number of his editor. A few days later I began writing for his literary criticism series with what was then Chelsea House and what is now Infobase Publishing. I put together two works on Tennessee Williams and a revamp of a guide to Conrad’s Heart of Darkness before I was contracted to write a book called How to Write About Kurt Vonnegut. Most of what I had read of Vonnegut’s work I had read long ago, and I had seen Vonnegut only once at a forum in Connecticut in 2006, where he appeared onstage with Joyce Carol Oates and Jennifer Weiner, the three of them parodying a dysfunctional family in a scene that led to much laughter. The theater, however, was completely absent of sound when an audience member asked a cultural-political question and Weiner sputtered, “I wasn’t expecting to have to deliver a message about humanity tonight.” “Well, leave,” was Vonnegut’s response. It was this Vonnegut moment that featured prominently in my mind’s reel as I packed notebooks, an inordinate number of pens, and several of Vonnegut’s novels in my bag that July in preparation for a trip to Boston. Once there, I read and took notes on one Vonnegut book per day from my room. (The hotel that I checked into, the Liberty, had served as a jail until a revolt over poor inmate conditions in the early 1970s led to its obsolescence and subsequent evolution into luxury accommodations.) When I got tired of being cooped up I moved to the lobby, where I witnessed absurdities such as a woman pushing a very small dog in a stroller and smiling, goofing tourists wandering the open tiers of what had once been rows of jail cells, and sometimes I wandered up Charles Street and popped into the local antique stores. I couldn’t afford most of what was in them, but haggled in one shop over the purchase of an antique blue-and-white tile which featured a single bird—a bluebird. It was a difficult trip, hot and coming on the tails of a year in which nothing went as planned and which involved the full stock and variety of deaths that is possible in one human year. And so I had to have this tile (symbol of happiness, you understand), and I turned over my last ten dollars to acquire it, and I read each book that week with the tile tucked away next to me, wrapped in paper in my bag. And in the strange, beautiful ways that life and art—life and fiction—can converge, I became certain that I was now living in a Vonnegut novel, filled with dark and strange humor and impossible—weren’t they? shouldn’t they be?—absurdities. The only highlight of the trip was an evening concert, one of Beethoven’s symphonies played live by the Charles River, and I sat on the ground listening with my pants growing damp from the remnants of a recent downpour. “Music,” Vonnegut said, “makes practically everybody fonder of life than he or she would be without it.” But I wasn’t feeling fond, and I returned home having worked hard but defeated. I put the tile away on one of my bookshelves. It wasn’t until one day—after I had finished the book and had grown tired of burdens and hungry for laughter—that I saw it again. I had placed the tile so that the bird was caught in an endless nosedive. And look at its tail! What had made me think that it was a bluebird? It had the tail of a peacock! With it seeming like the natural thing to do, I turned it so that its beak was pointed skyward, so that this strange bird—a bluebird with the tail of a peacock—was now a triumphant phoenix. A ridiculous bluebird-peacock-phoenix. The summer had ended and so had the heat. And things had gone on. Poo-tee-weet. On the eve of the anniversary of Vonnegut’s death, I asked Ben Greenman, David Holub, Rick Moody, Josip Novakovich, and Avi Steinberg about their own memories of Vonnegut’s work and about why everyone else should remember it, too. How has Vonnegut influenced or informed your own work? Ben Greenman: Through moral rigor, though not in any of the predictable ways. As a younger reader, which is when I had my strongest connection to Vonnegut—maybe not my most meaningful, but my strongest, in the fashion of first love—I took a preteen tour through Mother Night and Slaughterhouse-Five and Cat’s Cradle. The things that I dimly and germinally felt about war and technology and religion and the different—but similar—risks to humanity inherent in all of them were laid out quite clearly. As time has moved along, the sources of the risks have shifted slightly, for purposes of camouflage, but the risks remain. Read More
April 11, 2013 Look This Is a Bookstore By Sadie Stein It was a church: the thirteenth-century Boekhandel Selexyz Dominicanen in Maastricht, Netherlands, to be exact. Converted and restored in 2007, it is now a fully-functioning bookstore, complete with coffee shop. See more pictures here.
April 11, 2013 On the Shelf Charlotte Brontë Poem at Auction, and Other News By Sadie Stein An itty-bitty, handwritten Charlotte Brontë manuscript has sold at auction for £92,000. In Hong Kong, one small bookstore has become a haven for banned Chinese books. The City of New York is ponying up $230,000 to pay for the Occupy Wall Street Library destroyed in the 2011 Zuccotti Park raid. With numbers dwindling, a Texas book club folds after 120 years of regular meetings. I hereby call for a moratorium on … whatever this genre is.
April 10, 2013 First Person No Amusement May Be Made By Evan James “I forgot my camera,” I said to Wayan, the tour guide on our bicycle trip. He had, moments earlier, announced “Kodak moment!” as we slowed for our first stop—a lookout point over a mist-filled valley of tiered rice terraces. Two Swedish girls, two Dutch girls, and an English girl posed at the precipice, photographing themselves with evidence of having been to a beautiful vista in northeastern Bali. “Oh no,” said Wayan. “Well, you will keep it in your head.” My head already resembled a home interior from the TV show Hoarders, more so now that the compulsive caretakers within had made it their mission to collect as many Indonesian words as possible. I knew the word for “beautiful,” but lacked the impulse to document beauty. If I had to build a new mental wing to house the active volcano Mount Batur, so be it. Still, imagined disappointment from intimates ate at me. It seemed I could not cement a solid habit of picture-taking, and in this way I felt I failed the demands of our time at every picturesque turn, successful only in my failure to do the thing I should have, in retrospect, done—done for friends, for family, for Facebook. The feeling left me as the day progressed. The Swedish girls took cheeky snapshots of themselves knee-deep in the mud of a rice paddy outside a small village. “Dirty feet!” they cried, flashing smiles. “It’s like a spa treatment,” one joked, stepping out with wet muck on her calves. “I used to help my father do this when I was a boy,” said Wayan. He crouched down to plant a few sprouted seedlings. “It must be kind of fun for little kids to be in the mud and the water,” said one of the Swedes. “Like playing.” When we stopped at a coffee plantation, the Dutch girls took pictures of a caged civet, whose digestion and excretion of raw beans is essential to the production of expensive, earthy kopi luwak. Pictures of old Balinese women in their family compounds chopping and peeling bamboo into usable strips. Pictures of a five-hundred-year-old banyan tree. I would later persuade my fellow tourists to e-mail me these pictures, so that I could pass them off as my own when I returned. At a particularly stunning view of the volcano, the English girl said to me, “Bet you wish you’d brought your camera now.” “There’s a lot of things I wish,” I said in my head, keeping that there as well. “What do you do all day? Just sit around?” Read More
April 10, 2013 Quote Unquote Happy Birthday, Great Gatsby! By Sadie Stein “Reserving judgements is a matter of infinite hope.” —F. Scott Fitzgerald, The Great Gatsby, published on this day in 1925
April 10, 2013 At Work Decadent Prose: An Interview with Translator Kit Schluter By Sarah Gerard It is 1891. Marcel Schwob, a well-know author, meets a “girl of the streets” in the rain, in a slum of Paris. Her name is Louise, and she is sick with tuberculosis. He takes her home and cares for her. He writes her stories—fairy tales—which she loves. They grow close. Louise shows Marcel the beauty of innocence. Two years later, she dies. He is crippled by his grief. For six months, he doesn’t write. Then, he publishes The Book of Monelle, a groundbreaking work of decadence. An assemblage of fairy tales, nihilist philosophy, and aphorisms tightly woven into a tapestry of deep emotional suffering, it becomes the unofficial bible of the French Symbolist movement. Schwob influences writers and thinkers from Alfred Jarry to André Gide to Stéphane Mallarmé to Jorge Luis Borges and Roberto Bolaño. Translated obscurely into English in 1927, The Book of Monelle all but falls into obscurity shortly thereafter. Now, thanks to a new translation by Kit Schluter, Monelle is once again available in the States, with a biographical afterword. In addition to his translation work, otherwise focused on Pierre Alferi, Amandine André, and Danielle Collobert, Schluter is a poet and an editor at CLOCK Magazine and O’Clock Press, and will begin his graduate studies at Brown in the fall. We met to talk at a café in New York’s West Village. Why don’t you start by telling me how you found Schwob’s work and what drew you to it? I studied in Paris for a little bit in early 2010, and went to work in Tours, a city southwest of Paris, for about a month in the summer. I lived with my friend Sylvain Burgaud, who the translation is dedicated to, and a dear friend Bruno Chartier. Sylvain and I worked in these vineyards outside of town, trimming grapevines for about ten hours a day. Then we’d go to this bar at night called Le Serpant Volant, or the Flying Snake. The bartender, a wonderful person named Omar, when he found out that we were translating each other’s poems, offered us the second floor of the bar as a translating space in the evenings. Sylvain and I were translating almost every night, my first experience with the frenzy of translation and its conversations, obsessing over single words. One weekend, we went out to his house in La Roche Bernard, and we were translating a poem of mine, which is called “Journals.” We got to a passage and he asked, Have you ever heard of Marcel Schwob? I said, No, definitely not. And he said, Well, you need to read him, because you write a lot like him. I said, Okay, fine. Show me the book. I was really excited, and a little flattered. So, he went and got the book. I read one sentence, or two sentences, from “The Words of Monelle.” It was, “And Monelle said again, ‘I shall speak to you of moments,’” but in French, and something like, “Love the moment. All love that lasts is hatred.” It’s a little adolescent, isn’t it? But it really spoke to me, so I said, “Sylvain, will you loan me this book? I want to translate it into English.” But he wouldn’t lend me the book because he’d lent it out so many times before to people who didn’t return it. When he asked for it back, they had already lent it to someone else! That’s my favorite part of the whole story—that Sylvain couldn’t lend me the book because he had lost it so many times by way of lending. Read More