October 19, 2012 Books Finnegans Wake: An Illustrated Panorama By Jason Novak I wanted to illustrate something impossible, so I chose Finnegans Wake. It would be silly for me to draw in a few panels a work that took James Joyce seventeen years to complete. So I cheated. The name of the book comes from a nineteenth Century drinking song, “Finnegan’s Wake” (note the apostrophe). The song is about death and rebirth, and ends in a whisky-fueled brouhaha. There is little in agreement, on the other hand, on what Joyce’s book is about. Reading a page at random from Finnegans Wake is a bit like trying to read while drunk. But death and rebirth are undoubtedly major themes, as the book begins halfway through its final sentence. So here’s a single strand of DNA—perhaps the first—in Joyce’s impossibly dense opus infinitum. Pause Play Play Prev | Next Jason Novak works at a grocery store in Berkeley, California, and changes diapers in his spare time.
October 19, 2012 This Week’s Reading What We’re Loving: Angry Generals, Contemptuous Gumshoes By The Paris Review Several of us are in San Francisco at the moment. As such, I am obviously revisiting that hard-boiled Fog City classic, The Maltese Falcon. How can you beat it? “Spade took her face between his hands and he kissed her mouth roughly and contemptuously. Then he sat back and said: ‘I’ll think it over.’” —Sadie Stein This week I’ve returned to The Coal Life, the 2012 debut collection from Birmingham Poetry Review editor Adam Vines. And it’s still staggeringly good. Vines has this way of delivering a deliciously playful line with a face so straight you feel like a fool for thinking words could work any other way. Check out “River Politics” over at Poetry for a prime example, and then spring for the full set. —Samuel Fox Read More
October 19, 2012 On the Shelf 007, Moby-Dick, Literates By Sadie Stein The handwritten contract for Moby-Dick. The top ten literary parodies! (Warning: highly subjective and skews very British. But then, it would.) Watch the trailer for Midnight’s Children. In the words of one YouTube commenter, “can b a gud movie for literates.” In news that will shock no one, Swedish researchers find writers are unusually prone to depression, mood disorders, and substance abuse. The Economist charts the kills, conquests, and tipples of the various James Bonds.
October 18, 2012 Arts & Culture Sea and Fog: The Art of Etel Adnan By Nana Asfour Etel Adnan wasn’t there. “It’s hard for her to travel these days,” Photi told me. Too bad, I thought. She is an iconic Lebanese-American cultural figure and I had hoped to meet her. She was also missing out on the impressive turnout in her honor in New York’s Lower East Side. I had arrived just as the reading had started. The tiny gallery was packed, and I had to squeeze my way through the many bodies. Kaelen Wilson-Goldie, an art critic, was already speaking. I was surprised she was there. She lives in Beirut; I lived there once. So did Etel. Etel and I were both born there, albeit forty-five years apart. And we were both there during the fifteen-year Lebanese Civil War (she, here and there; me, throughout much of its first ten years). Etel wrote the defining novel about that war, in 1978. It’s called Sitt Marie Rose and is based on the true story of a woman who was kidnapped and killed by the Christian Phalangists for her support of the Palestinian cause. The Phalangists were one of innumerable militias during the war; they ruled East Beirut, where I, a daughter of two Palestinians, lived. The book was translated into dozens of languages and is regarded as an important contribution to Arab feminism. Kaelen was holding Etel’s new book, Sea and Fog, in her hand. It’s a book of prose and poetry that had just been released by Nightboat Books, a small, independent press from Callicoon, New York. It was originally written in English, Etel’s first language these days. She penned it in California, where she has been based for decades. (Etel also spends part of the year in Paris.) At Callicoon Fine Arts, the small, independent gallery where we were standing, Photios Giovanis, the gallery’s owner, was showing Etel’s paintings. I had never seen Etel’s art in person before. Until very recently I didn’t even know she was an artist. I only knew her as a writer. As Kaelen spoke, I swiveled left and right, trying to get a glimpse of the works, but there were too many heads in the way. “Whenever I’m hanging out with a group of artists in Lebanon and Etel comes in, everyone is like ‘Oh, here’s Etel.’ She’s a very influential figure,” Kaelen, said. Kaelen hangs out with Lebanese artists often. She knows the Lebanese art scene very well. She writes about it for publications like Bidoun, Frieze, and Artforum. I don’t, in fact, know where Kaelen is from. But she writes great articles about Lebanese art. They almost all have the same theme: Lebanon is an insane, unruly, unstable place—but it has great artists. Read More
October 18, 2012 Arts & Culture As Long As It Was Deep By The Paris Review Copyright 2012 Ric Ocasek, Courtesy Blue Rider Press. Lyrics & Prose is in stores November 1.
October 18, 2012 On the Shelf Mimes, Tattoos, and Whales By Sadie Stein The Mime Alphabet Book and other odd titles. Hilary Mantel’s Wolf Hall and Bring Up the Bodies: Man Booker Prize winners and now BBC miniseries and stage plays, too. This children’s librarian has perhaps the ultimate children’s librarian tattoo. A slide show of Robert Frost’s Vermont home. Moby-Dick gets the Google treatment. [tweetbutton] [facebook_ilike]