March 30, 2012 This Week’s Reading Staff Picks: Biennial Cataloguing, Southern Gothic Horror By The Paris Review For the first time in its eighty-year history, the Whitney Biennial gives substantial space—an entire floor of the museum, in fact—to dance and performance. The catalogue, typically a by-the-book affair (no pun intended), has matched the show’s experiential adventure, allotting each of the roughy fifty artists six pages for original contributions that extend, rather than merely reflect, the work in the museum. Among others entries, I love Vincent Fecteau’s use of a quote from Dennis Cooper to accompany his sculptures, while Cooper’s Last Spring project appears a few pages back; and Nick Mauss’s description of room he built in a dream: “just like that Claus Oldenburg installation with the plush and the zebra, except that the bed is covered in a grid of baguettes standing en point beneath a poster of the cover of Triste Tropiques.” —Nicole Rudick It feels redundant to recommend something as canonical as Shoah, but until this past weekend, when I devoted a day to it at BAM, I’d never actually seen Claude Lanzmann’s landmark documentary all the way through. I must admit, I entered into the nine-hour experience with something of a sense of obligation. But it’s okay. Entertaining is the wrong word—wholly engrossing. I’ll leave it to others to discuss its cinematic and historical import; all I know is that it stays with you. —Sadie Stein This week New Orleans held its annual Tennessee Williams Festival, featuring copious mint juleps and a Stella shouting contest. I celebrated the occasion with Sweet Bird of Youth, the 1962 film adaptation of Williams’s play. When tweaking and fame-hungry Chance Wayne (Paul Newman) returns to his Florida hometown to win back his sweetheart with big Hollywood promises, as always with dear Tennessee, heartbreak and histrionics ensue. Geraldine Page as Alexandra del Lago, a boozy, washed-up film star, steals the show. —Allison Bulger Gothic thrillers are my guilty pleasure, but it’s hard to find a really good one. John Harwood’s The Séance is one of the best I’ve come across lately, a creepy page-turner that manager to capture the flavor of nineteenth-century horror conventions without feeling mannered. —S.S. William K. Everson was the head of the Theodore Huff Memorial Film Society, which put on weekly retrospective film series in New York City from the fifties into the eighties. These screenings were attended by such luminaries as Stanley Kubrick and Susan Sontag. Everson wrote extensive notes for each show, and these legendary writings—idiosyncratic as they are erudite—are now available online through NYU. —Josh Anderson Cultural narratives often contain the most distilled and revealing identifiers of a people and their imagination. The Met exhibition “Storytelling in Japanese Art” is a beautiful instance of narrative revelation, a window into the world of Japanese storytelling from the twelfth to the nineteenth century. This collection of various media—hand scrolls, folding screens, playing cards, textiles—pairs narrative text and intricate illustration to showcase the rich and fascinating history of Japanese people, their spirt and their stories. —Elizabeth Nelson
March 29, 2012 In Memoriam Adrienne Rich By Robyn Creswell Photo by Robert Giard. Adrienne Rich’s first poem in The Paris Review was “The Snow Queen,” which appeared in the magazine’s second issue (Summer 1953). Her last, “Itinerary,” was published this spring in our two-hundredth. Rich was twenty-three when she wrote “The Snow Queen,” but she had already been discovered. Her first book, A Change of World, was chosen by W. H. Auden for the Yale Younger Poets prize in 1951. Rich’s early work is formally impeccable, its ideas and idioms rooted in the poetry of Yeats and Stevens (“The Snow Queen” can be read as a variation on Stevens’s “The Snow Man”). But Rich quickly moved beyond her early style. She found its virtuosity too prim, too imitative—“exercises in style,” as she once put it. In her early thirties, she was already looking back at her accomplishments and measuring their limitations. “Necessities of Life,” the title poem of her 1966 collection, was first published in The Paris Review as “Thirty-Three” (Winter-Spring, 1964), which was Rich’s age when she wrote it. It is a poem of retrospection and prophecy. It begins, Piece by piece I seemto re-enter the world: I first began a small, fixed dot, still seethat old myself, a dark blue thumbtack pushed into the scene,a hard little head protruding from the pointillist’s buzz and bloom.after a time the dot begins to ooze. Certain heatsmelt it. “The pointillist’s buzz and bloom” is still Stevensian, but the oozing and heat—here signaling the onset of adolescence—are heralds of Rich’s mature poetry. Her great work of the sixties and seventies, the period in which she came out as a lesbian and a radical feminist, are poems of Eros. Not merely eroticism, though there is plenty of that—and it is important—but a poetry of passionate relation and reinvention. It is also a poetry that values plainspokenness over rhetorical expertise. “Now and again to name / over the bare necessities,” as she instructs herself in “Necessities of Life.” Read More
March 29, 2012 Books A Panorama of “Bartleby, the Scrivener” By Jason Novak Bartleby is a law clerk on Wall Street who one day refuses a demand from his startled boss with the words “I’d prefer not to.” Over time, he prefers to do less and less, confounding the lawyer, until at last he is taken to prison, where he refuses to eat. At the end of the story, we learn that Bartleby worked in the Dead Letter Office, burning people’s unclaimed letters. I drew this as a break from struggling with a larger piece I’ve been working on, so I was amused to learn that Melville wrote “Bartleby” while struggling with Moby Dick. Indeed, some of the details in this story are reminiscent of Melville’s sea fiction: there are no women; the world outside Bartleby’s office is murky, like the sea; he stares out the window at a brick wall for hours on end, like a weary mariner gazing at an endless horizon. The prevailing tone is one of destruction, so I used the flame from my kitchen stove to burn the bottom edge of the panel. Click in and scroll down for the whole tale. Read More
March 29, 2012 First Person The Wizard of West Fifty-seventh Street By Claire Messud Robert Silvers in the New York Review offices. Our Spring Revel will take place on April 3. In anticipation of the event, the Daily is featuring a series of essays celebrating Robert Silvers, who is being honored this year with The Paris Review’s Hadada Prize. My first encounter with Robert Silvers was with his sonorous and elegant voice, with its precise, slightly British diction. It must be said that most of my encounters over the years have been with the voice rather than the man, as we’ve met in person only a few times. I first heard the voice in the summer of 1988. Back in the States after my first year of graduate school at Cambridge University, I somehow landed a job in the advertising department at The New York Review of Books. I can’t imagine I came by it entirely honestly, but I have no recollection of whose kindness may have opened the door. This was at the old address, 250 West Fifty-seventh Street, where entering the offices felt somehow like slipping in a back door, because you were immediately dwarfed by books. Mountainous, heavily laden shelves overhung the narrow, dark corridors, and people scurried quietly among them as if in fear—fear, I always thought, that like Leonard Bast they would be crushed by knowledge. In the several months I worked in those offices—in the domain of Catherine Tice, at the elbow of a brassily confident assistant named Kim—I never laid eyes on either Bob or Barbara. (I had, on the other hand, many mad and wonderful conversations with the late Bob Tashman, who roved the office with apparently much time on his hands and who, although balding, had an impressive corona of hair emerging from his shirt collar. His long-worked-upon American Decameron, alas, we will never now see.) Bob and Barbara’s offices were down long tributaries of the book-lined hallways, unenterable by the likes of me. But I did, upon occasion, hear the magical voice. It was like hearing the Wizard of Oz. Whether he was speaking on the telephone or to an assistant, his interlocutors were inaudible, the authority of his inflections absolute, and his physical presence purely notional. Read More
March 28, 2012 On Television Dear Don Draper, It’s a Wonderful Life By Adam Wilson Dear Don Draper, Birthday greetings from the year 2012! Adam Wilson here, writing to tell you that things will be okay! I know life looks bleak right now, Don. You just turned forty. You’re feeling it. Your frown lines tell the tale, your smoke-seasoned cheek skin, the whiskey jaundice blooming in your beautiful eyes. The way your manly body slumps and crumples, finally flaccid after decades of tumescence. It’s 1966 and everything’s orange and yellow, plush and furry, groovy, heady, already psychedelically aglow. At the end of last season you were smiling like a lobotomized monkey, gaga over Megan the secretarial sex machine, offering love and financial security in exchange for a peek at her abs. Now you’ve got the spoils of that horny dream and it’s not a pretty sight: an open plan apartment accented by white rugs and cream-colored decorative pillows; a wife whose sexual liberation extends outside your bedroom and into the public salon where she’ll embarrass you in front of your coworkers, strutting her silky stuff while a band of blond surf bros play anesthetized hippie pop; daughter Sally quickly turning Lolita; your son Bobby all but unrecognizable from last year (it’s not your fault—they changed the actor); baby Gene with his creepy, beady eyes; plus the possibility of even more unwanted children! Read More
March 28, 2012 On the Shelf Thurber Insults and Library Dreams By Sadie Stein A cultural news roundup. Happy seventy-sixth, Mario Vargas Llosa! Muggles get the Harry Potter treatment in Florida. “At Ollivanders, the wand shop, character actors put on a show. With a few dozen people crowded into a room, a bearded wizard proceeds to help a child select a wand. ‘Descendo!’ he cries. Boxes tumble down and the shelves fall apart on cue. It was the wrong wand. ‘Repairo!’ he cries. The shelves put themselves back together. The long-bearded gent eventually gives the girl an Ash wand, ‘an excellent wand for a charismatic, successful wizard.’” You can even read the books! At forty-two, historical novelist Rabee Jaber is the youngest winner of the International Prize for Arabic Fiction. On the plus side, James Thurber wrote back to his fans. “One of the things that discourage us writers is the fact that 90 per cent of you children write wholly, or partly, illiterate letters, carelessly typed. You yourself write ‘clarr’ for ‘class’ and that’s a honey, Robert, since s is next to a, and r is on the line above.” An ode to the thesaurus. How about a little fancy-library porn? (This Johns Hopkins professor totally beats Lagerfeld in the library stakes.) Book origami. Henry James is the most-studied writer. Did it really take this long to make an Art of War graphic novel?