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The Daily

June 30, 2010
Terry Southern Month

The End of Terry Southern Month

By Lorin Stein

As we come to the end of Terry Southern Month—and our first month in operation—I wish to thank all of you who wrote in, whether on the comments page or privately, to say how much you love Southern’s work. We had no idea how many other fans were out there. This has been one of those gratifying lessons that only the web can teach.

Thanks also—equally—to those who hate the stuff, and piped up. We are not in the criticism business at The Paris Review. But we believe in it. Here we differ with our friends at The Believer: we like snark, when it comes from the gut. It may not be the lifeblood of the arts, but a healthy organism also needs bile, not to mention a gag reflex.

You haters are going to hate this last piece. We make no apologies for it, but—at the risk of going off the reservation, into lit crit mode—we would like to point out that it makes the author queasy, too. (Even his anti-hero, “Art,” knows enough to be ashamed. Get it, Art?)

Furthermore, we’d like to observe that this is typical of Southern’s work. His comedy depends on moral ambivalence. He may be turned on by bad behavior—if it weren’t a turn-on, it wouldn’t be bad. Or at least, no one would engage in it. But he knows it for what it is. In a story like the following, he’ll sacrifice good taste, comfort, even laughs for the sake of a truth “too … er, uh, gross for a general readership.”

We trust you are not that. Read More
June 30, 2010
The Culture Diaries

A Week in Culture: Richard Brody, New Yorker Film Critic

By Richard Brody

DAY ONE

10:02 A.M. The week’s first cultural object is a new, yet-unreleased film by Claude Chabrol, The Son of Summer, starring Isabelle Huppert as a childless, married bourgeois intellectual who has a special, foster-like relationship to a young, disabled boy whom, one day, she kills. The film is so new that, in fact, it doesn’t exist—I dreamed it at the end of a morning of troubled sleep.

10:15 A.M. A chamber transcription of Haydn’s Symphony no. 94, the “Surprise” symphony, is playing on WQXR, New York’s classical-music station. It’s music I know and love—I play a spare transcription of the middle movements on recorder—but have never heard in this arrangement.

11:00 A.M. Twitter (and every hour or two for a few minutes, throughout the day). Love the sense of listening in on discussions at the next table when they know you’re listening. Good to chat back and forth with people I don’t know but would want to, with others I do know but don’t talk with often enough, with a surprisingly large yet tight group of fellow cinephiles. The 140 characters? A snapshot of an idea.

11:10 A.M. Heading for the subway, unusually late.

11:20 A.M. The Genius and the Goddess: Arthur Miller and Marilyn Monroe, by Jeffrey Meyers on the No. 6 and the R. Anticipating something like a twist on the line from Saturday Night Fever: “Maybe he’s not so smart and maybe she’s not so dumb.”

11:47 A.M. The New York Times’s Web site, checked intermittently throughout the day’s editorial duties.

3:20 P.M. Glenn Kenny’s blog Some Came Running led me to his piece at Mubi about politicized viewings of “Sex and the City 2.” It concludes with a citation from Slavoj Zizek, which prompted me to revisit Adam Kirsch’s critical debunking, in The New Republic, of Zizek’s politics (The Deadly Jester), and Josh Strawn’s debunking of Kirsch’s, at Jewcy.

7:52 P.M. “The Young Schubert,” a recording by the pianist Leonard Hokanson, a student of Artur Schnabel. Hokanson delights in Schubert’s adolescent inspirations.

8:20 P.M. NY Post: the bridge column. I played a lot in high school, not at all since then—but I read the bridge column every day. And Page Six: the item about Ron Jeremy lunching at Condé Nast. I saw him in the lobby beforehand, where lots of employees came up to greet him. Afterwards, plenty of people in the office were talking about him.

8:30 PM. The Times: Read the front-page story with the headline, “Hooked on Gadgets, and Paying a Mental Price.” Put any noun in the place of “gadgets” and there would be a price to pay; that’s true of any addiction or abuse, not just of electronic stimuli. Read the op-ed piece about legislative battles in Wisconsin over raw milk.

9:27 P.M. Bud Powell, A Portrait of Thelonious. Powell, the definitive bebop pianist and my favorite jazz pianist, whose scintillating yet melodious right-hand runs are anchored by the dark lightning of his left hand’s chords. His later recordings (such as this one, from a Paris studio in 1961) are much and wrongly maligned. What he lost in exuberance he gained in profundity; and where they’re exuberant (Live in Geneva 1962, for instance), they’re still more profound.

9:40 P.M. On-line Driver’s Manual and Study Guide—having let my license lapse, inadvertently, decades ago, I need to start again, with a learner’s permit: “You may not cross any railroad tracks unless there is room for your vehicle on the other side. If other traffic prevents you from crossing all the way, wait, and cross only when there is room.”

12:05 A.M. A few minutes of John Ford’s The Rising of the Moon, his low-budget Irish film, from 1956.

1:11 A.M. While preparing to DVR No Sad Songs for Me (which Jean-Luc Godard wrote about in Cahiers du Cinéma at the age of twenty-one), I burn to DVD—and start to watch—High Time, a 1960 comedy directed by Blake Edwards, starring Bing Crosby as a prosperous fifty-ish businessman who decides to get a college education.

2:48 A.M. The Genius and the Goddess. Reading about Arthur Miller’s troubles with the House Un-American Activities Committee and its heinous methods, in 1956-57, even after the fall of McCarthy: “Miller said his battle with the committee was ‘a fraud and a farce, except it cost me a fortune [$40,000] for lawyers and a year’s time lost in the bargain, worrying about it and figuring out how to react to it.’”
Read More
June 29, 2010
World Cup 2010

England’s Loss to Germany

By Will Frears

England’s performance was in a different league of awfulness from the regular awfulness that had been seen in earlier games. Before, the problem had been one of not seeming to care; the players behaving as though they deserved to win by virtue of the size of their wages. This time they definitely cared, they were fired up, ready to go and then when they got there, they were just awful.

My brother, an avid Arsenal fan sent me a text during the game: “Hopefully Manchester United will trade their Wayne Rooney for this bloke with the same name.” And my friend Andy Martin sent me an e-mail that read: “When Capello brought that loser Heskey on as some kind of supersub, I took the dog for a walk—we might as well commit ritual hara-kiri right there.”

It’s an odd marriage, the one between the Italian coach and the English team. It doesn’t seem to be working out for anyone. On the bench, Fabio Capello seems genuinely pained by the complete lack of basic technique shown by the English players. During the Slovenia game he was reduced to yelling, “Barry, the fucking ball, Barry.” He is also a fan of the ristrito: shutting his players up in the hotel during the tournament and enforcing naptime between lunch and supper. When John Terry led his insurrection, one of his complaints was that the players were desperate for a beer.

The greater complaint made by the players is that Capello persisted in playing 4-4-2. It’s a system he’s fond of using, but also one that nullified the talents of his three best players—Rooney, Lampard and Gerrard—by forcing them to play out of their best positions. Almost everyone else at the tournament is playing a 4-2-3-1 and all the England players play that formation for their club teams.

The truth is that 4-2-3-1 requires a great deal of positional discipline from the players, a talent England clearly does not possess. They roamed the field, chasing after the ball, and not holding any kind of shape until the Germans simply picked them off—waiting for the English to organize themselves into utter chaos and then exploiting the spaces that opened up. Germany couldn’t help but win.

In England, much has been made of Frank Lampard’s not-allowed goal. The ball clearly did cross the line and the game would have been tied going into the second half. Jurgen Klinsmann, the former German player and manager, argued that far from getting their heads down, the injustice should have riled up the English players. They should, he felt, have come out for the second half seething with rage and ready to show that nothing was going to stop them from getting their just rewards. Instead it looked as though they had found their villain and could now settle down into feeling hard done by.
June 29, 2010
At Work

Shawn Feeney and The BFF Project

By Jascha Hoffman

By day, the Oakland artist Shawn Feeney works in the art department of Industrial Light and Magic, the visual effects division of Lucasfilm. By night, he uses his training in forensic art to draw charcoal portraits that combine the features of strangers who submitted their photos to him on the Internet.

How did you get into forensic art?

I’ve been drawing as long as I remember. My dad is a cop on Long Island, and whenever I would visit him at the police station, I would visit the forensic artists. They would critique my drawings of X-Men. In 2006, my dad told me that his police department was hiring a civilian forensic artist. I took a three-week course in forensic facial imaging at the FBI academy in Quantico. It covered the interview process, facial anatomy, age progressions and postmortem drawings. I tend to be obsessive, meticulous, but it helped me loosen up. You can’t expect a witness to sit there for five hours while you draw every little pore on the face. Read More
June 28, 2010
Books

The Long Ships

By Michael Chabon

Unearthing a Viking treasure.

In my career as a reader I have encountered only three people who knew The Long Ships, and all of them, like me, loved it immediately. Four for four: from this tiny but irrefutable sample I dare to extrapolate that this novel, first published in Sweden during the Second World War, stands ready, given the chance, to bring lasting pleasure to every single human being on the face of the earth.

The record of a series of three imaginary but plausible voyages (interrupted by a singularly eventful interlude of hanging around the house) undertaken by a crafty, resourceful, unsentimental and mildly hypochondriacal Norseman named “Red Orm” Tosteson, The Long Ships is itself a kind of novelistic Argos aboard which, like the heroes of a great age, all the strategies deployed by European novelists over the course of the preceding century are united—if not for the first, then perhaps for the very last time. The Dioscuri of 19th-century Realism, factual precision and mundane detail, set sail on The Long Ships with nationalism, medievalism and exoticism for shipmates, brandishing a banner of 19th-century Romance; but among the heroic crew mustered by Frans Bengtsson in his only work of fiction are an irony as harsh and forgiving as anything in Dickens, a wit and skepticism worthy of Stendhal, an epic Tolstoyan sense of the anti-epic, and the Herculean narrative drive, mighty and nimble, of Alexander Dumas. Like half the great European novels it is big, bloody and far-ranging, concerned with war and treasure and the grand deeds of men and kings; like the other half it is intimate and domestic, centered firmly around the seasons and pursuits of village and farm, around weddings and births, around the hearths of woman who see only too keenly through the grand pretensions of men and bloody kings.

It offers, therefore—as you might expect from a novel with the potential to please every literate human being in the entire world—something for everyone, and if until now The Long Ships has languished in the second-hand bins of the English-speaking world, this is certainly through no fault of its author, Frans Bengtsson, whom the reader comes to regard—as we come to regard any reliable, capable and congenial companion in the course of any great novel, adventure, or novel of adventure—as a friend for life. Bengtsson recreates the world of 1000 AD, as seen through the eyes of some of its northernmost residents, with telling detail and persuasive historiography, with a keen grasp of the eternal bits that pebble the record of human vanity, and with the unflagging verve of a born storyteller—but above all, and this is the most remarkable of the book’s many virtues, with an intimate detachment, a neighborly distance, a sincere irony, that feels at once ancient and postmodern. It is this astringent tone, undeceived, versed in human folly, at once charitable and cruel, that is the source of the novel’s unique flavor, the poker-faced humor that is most beloved by those who love this book. Though at times the story, published in two parts each consisting of two parts over a span of several years, has an episodic feel, each of its individual components narratives is well-constructed of the soundest timbers of epic, folk tale and ripping yarn, and as its hero grows old and sees his age passing away, that episodic quality comes to feel, in the end, not like some congeries of saga and tall tale but like the accurate representation of one long and crowded human life. Read More
June 28, 2010
In Memoriam

Ben Sonnenberg (1936-2010)

By Lorin Stein

The Paris Review salutes Ben Sonnenberg, the founding editor of Grand Street, who died last Thursday at the age of seventy-three. He was a hero to many of us. Although Grand Street may never have had more than a few thousand subscribers, it was one of the great literary magazines of our time. Recently the artist Matteo Pericoli drew the view from Sonnenberg’s window and asked Sonnenberg to describe what he saw there every day. The view and text are excerpted from Pericoli’s book The City Out My Window: 63 Views on New York:

It’s a southwest-facing window and that means plenty of sunlight, a rarity in this city. The lower part of the view shows the roof tops of the small nineteenth-century houses that line West Seventy-sixth and Seventy-seventh Streets, a view pretty much unchanged since the time our building went up in 1927, and that is very pleasant. In the near distance is an apartment building contemporary with ours which has the merit of featuring an old-fashioned wooden water tower. Fortunately for my wife and me, the modern buildings of Donald Trump, with their ugly fenestration and hostile immensity, figure only in the distance. The glory of our view is the lordly, moody Hudson River, much reduced here in the middle-right. For the twenty-seven years of our marriage this has afforded us sunsets that on some days are spectacular, on others merely beautiful.