July 11, 2022 Diaries Diary, 2011 By Andrew Martin To my retroactive disappointment, the journals I keep—I fill about one marble composition book a year—are an undifferentiated, undated jumble of fiction drafts, semifictionalized self-reflections, actual diary entries, to-do lists, lesson plans, notes for articles I’m writing, and strange doodles often in the form of heavily inked trapezoidal grids. I wish that the notebooks more frequently included scenes like this, in which I simply recorded, without much commentary or elaboration, what I remembered right after a conversation with my younger sister sometime in 2011, when she would have been thirteen and I twenty-five. Too often when I write personally I simply record states of mind, which have been frustratingly static and melodramatic over the years and often seem to be stylized in a way that I find unconvincing, even to myself. This page presents a clearer picture of what life was like at the time—quizzing my sister about her religious beliefs, asking her about TV shows and who Bruno Mars was. I was encouraging her to be open-minded about religion, even as a devout nonbeliever myself, probably out of some quasiparental instinct. She described an idiosyncratic cosmography: no to God, yes to guardian angels. Apparently she wanted to be a doctor at the time. (She ended up going to art school, a family tradition.) I was living in New York, home for the weekend, visiting my parents in New Jersey. The next decade took me to Montana, Virginia, and Boston before I circled back to Brooklyn just in time for the pandemic. I saw my sister in Philadelphia recently. She was driving the car, and we talked about what was on her mind now. Gay bars, the Supreme Court. I did not ask about angels. Andrew Martin is the author of the novel Early Work and the story collection Cool for America.
July 8, 2022 The Review’s Review More Summer Issue Poets Recommend By The Paris Review Aerial view of Agios Nikolaos Beach in Hydra, Greece. Photograph by dronepicr. Licensed under CC BY 2.0. This week, we bring you reviews from two of our issue no. 240 contributors. If you enjoy these, why not read recommendations from four more of our Summer issue poets? I was watching the sunset on the Greek island of Hydra with my best friend when I suddenly said, “I think I hate Henry Miller.” I’d just raced through The Colossus of Maroussi and then Tropic of Cancer. So, as my friend and I perched on rough stones by the sea, I forced her to listen to my least favorite passages from Tropic of Cancer. Miller brags about his penis—“a bone in my prick six inches long”! He catalogs what seems like “every cunt I grab hold of.” At a bar, he ejaculates on a stranger’s dress. (She’s “sore as hell.”) In 1934, when Tropic was published, this ecstatic obscenity could have been appealing; in 2022, reading it reminds me of being trapped in the bathroom queue at a party next to a coked-up man with a PhD and a browser tab permanently open to PornHub. The book feels, in Miller’s words, like “a thick tide of semen flooding the gutters.” “I think I hate Henry Miller.” I think. Why did I qualify? Well, there is Tropic’s bravura opening. And despite the ethnographic gaze that saturates The Colossus of Maroussi, certain episodes of hilarity delighted me: the saga of Miller’s diarrhea during his visit to Crete, for example, in which he shits his pants, then shits at “the bottom of a moat near a dead horse swarming with bottle flies” and embarks on an oft-frustrated quest for “soggy rice with a little lemon juice in it” to quiet his bowels, all while touring ruins and being plied with victuals that are decidedly disquieting to his bowels. There are also passages of arresting beauty, where the writing has the feeling not of mania but of deep dreaming. Miller’s first approach to the island of Poros can only be quoted in full; it is perfect. Read More
July 7, 2022 Diaries Diary, 2001 By Molly Dektar “Today I’m REALLY worried about death. I almost started crying. However, my new calligraphy kit is AWSOME.” “My dollys are so fun to play with. They bend and move and pose. : ) P.S. the police think that Peterson might be guilty because there was blood all over the scene of the crime and a used condom (EW!) and a bloody soda can with hair on it.” Read More
July 6, 2022 Arts & Culture Why Write? By Elisa Gabbert Photograph of light on water by Aayugoyal. Licensed under CC0 4.0. I encountered Joan Didion’s famous line about why she writes—“entirely to find out what I’m thinking”—many times before I read the essay it comes from, and was reminded once again to never assume you know what anything means out of context. I had always thought the line was about her essays, about writing nonfiction to discover her own beliefs—because of course the act of making an argument clear on the page brings clarity to the writer too. She may have believed that; she may have thought it a truth too obvious to state. In any case, it’s not what she meant. She was talking about why she writes fiction: I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means … Why did the oil refineries around Carquinez Strait seem sinister to me in the summer of 1956? Why have the night lights in the Bevatron burned in my mind for twenty years? What is going on in these pictures in my mind? Read More
July 5, 2022 On Leonard Cohen Beautiful Losers: On Leonard Cohen By Nell Zink From “The Lost Radio Interview.” To mark the appearance of Leonard Cohen’s “Begin Again” in our Summer issue, we’re publishing a series of short reflections on his life and work. In December 1981, I visited my older brother at the University of Michigan. There three men taught me to play three songs on guitar: “Babe I’m Gonna Leave You,” “Genesis,” and “Suzanne.” The first left me cold. The second, its melodic charms notwithstanding, featured the line “They say I’m harder than … a marble shaft,” leading me to believe, until just now when I finally looked him up, that Jorma Kaukonen was born in Finland and never really learned English. The third rocketed me, on my return to William & Mary, straight to the town record store, where the cashier sold me Songs of Leonard Cohen with a money-back guarantee on the condition that I listen to it ten times before complaining. Read More
July 1, 2022 The Review’s Review Emma Cline, Dan Bevacqua, and Robert Glück Recommend By The Paris Review Photograph by makeshiftlove, via Wikimedia Commons. Licensed under CC BY 2.0, This week, we bring you reviews from three of our issue no. 240 contributors. The documentary Rocco, which follows the Italian porn actor and director Rocco Siffredi, feels like a hundred perfect short stories. We learn that Rocco carries around a photo of his mother at all times. We watch Rocco and his teenage sons chat in their cavernous and starkly lit climbing gym/weight room in Croatia. We discover that Rocco’s hapless cameraman of many decades, Gabriel, is actually his cousin, a thwarted porn star. During one virtuosic shoot (Rocco Siffredi Anal Threesome with Abella Danger) Gabriel accidentally leaves the lens cap on, which they discover only after shooting the entire scene. There’s a surprising sweetness in Rocco, a man in the twilight of a certain era. “They used to focus on the women’s faces,” he says, sadly. He’s decided to retire. The final scene finds Rocco carrying a giant wooden cross on his back through the hallways of the Kink.com Armory. This tableau is the brainchild of Gabriel. “Because you die for everyone’s sins,” he tells Rocco. —Emma Cline, author of “Pleasant Glen” Read More