January 9, 2013 First Person Hear that Lonesome Gasket Blow: Part 2 By Evan James Read part 1 here. On the table, next to an incomplete, five-hundred-piece jigsaw puzzle meant to show a pair of docile horses, a magazine calls my name. It calls to me with bold yellow proclamations in sans serif (“MY MAGIC WEDDING!” “THE FROCKS THAT ROCKED AND SHOCKED”), photo-framing pink boxes, and a rogues gallery of fame-brushed faces. This is the rope bridge, heavy with gossip, across which your sunburnt correspondent has teetered for the last two weeks—over howling, hungry rivers with names like Little Devil and Charming, further and further into a land where the bone marrow of J. R. R. Tolkien is used to fashion everything from high-grossing puberty allegories in 3-D to cheeky airline safety videos. This is Woman’s Day, New Zealand’s number one weekly magazine. The date is December 31, 2012, and, according to the mag’s house astrologer, manic Mars is moving smack-dab into my center stage. Read More
January 9, 2013 On the Shelf A Printer Called Lethem, and Other News By Sadie Stein Portlanders, start your smug engines: you live in the top city in America for readers. James Joyce in Trieste. Turkey has quietly lifted a ban on some 23,000 books. “The Lethem printer resides in the college’s library, Crossett, where it is used by students to print papers and assignments. Prior to Lethem, the college printers were called Rumi and Thoreau for no discernable reason, as neither went there.”
January 8, 2013 Arts & Culture “I Always Start on 8 January” By Sadie Stein On January 8, 1981, Isabel Allende wrote a letter to her dying grandfather that later turned into her first novel, The House of the Spirits. Ever since, this has been the date on which Allende starts a new work. Having started, she writes from Monday through Saturday, from 9 A.M. to 7 P.M. We wish her happy writing and hope to profit by her industrious example.
January 8, 2013 Arts & Culture Teen Tour By Sadie Stein People who make it their business to classify such things call them “malt shop books”—the numerous young-adult series written in the 1950s and 1960s. I inherited a few of my mother’s Betty Cavannas in elementary school, and by age twelve I was hooked, scanning library sales and thrift stores for the tiny patch of tartan that denoted a vintage Scholastic paperback or the telltale words that suggested a title targeted at the teenage reader. I learned how varied the genre was: the serious and introspective Betty Cavanna books; Janet Lambert’s series, which take place in military families; the more frivolous Rosamond du Jardins; the slightly odd Lenora Mattingly Webers, which center around the independent-minded Malone family. Many of these books deal with “issues”—teen drinking, peer pressure, fast crowds. But the overall picture of teen life is wholesome and comforting. Parents tend to be supportive and families functional; the occasional sibling rivalry generally gives way to mutual understanding. I was an awkward teenager. And my New York City school—full of sophisticated teenagers whom I found terrifying—was a far cry from the suburban utopia of the malt shop books. A late bloomer, painfully shy and painfully aware of not looking right in the clothes my mom bought me, I dreamed of a world in which virtue was rewarded; boys fell for the smart, quiet girls and were happy with wholesome dates; and everyone knew exactly how to dress for every occasion. I recognized that the books were idealized, but my interest was more than ironic or curious: I found the fictional universe of my collection a true refuge. (More contemporary YA titles took on drugs and sex; frankly, these weren’t my concerns.) I enjoyed all the series, from Candy Kane (a precocious singer on an Army base) to Marty Smith (a gutsy journalism undergrad), but one became my favorite: Anne Emery’s Dinny Gordon books. Emery (not to be confused with the mystery writer of the same name) is perhaps better known for other series—the Sally and Jean Burnaby books, the 4-H centric Jane Ellisons, the Pat Marlowe stories, the Sue Morgan series. But Dinny Gordon was, and remains, my favorite. Read More
January 8, 2013 The Print Series Louise Bourgeois, Untitled, 1994 By The Paris Review Since 1964 The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.
January 8, 2013 History Kleist’s Crime Blotter By Michael Lipkin and Sophie Pinkham On the afternoon of October 1, 1810, people started gathering in front of Berlin’s Hedwigskirche, where a new paper would be selling its first issue. By evening the crowd had grown so large that guards were posted to maintain order. The whole city, it seemed, had turned out for the launch of the paper, the Berliner Abendblätter. Even the king had asked for a copy. Officially, the Abendblätter was edited anonymously. Among the city’s literary elite, however, it was widely known that the paper was written almost single-handedly by Heinrich von Kleist, a young writer. Kleist’s plays and novellas were written with exceptional elegance, but were preoccupied with rape, war, and natural disaster. Kleist had once enjoyed the patronage of Goethe, but after a disastrous theatrical collaboration the two writers found it impossible to continue working together. Goethe admitted that his protégé filled him with revulsion and horror, “as though a body nature had intended to be beautiful were afflicted with an incurable disease.” Read More