April 2, 2012 Bulletin WBAI Celebrates Issue 200 By The Paris Review Yesterday a whole bunch of us got up earlyish to talk shop with Janet Coleman on “The Next Hour.” Click here to hear Maggie Paley (“Terry Southern, The Art of Screenwriting”), Rowan Ricardo Philips (“Heralds of Delicioso Coco Helado”), Leanne Shapton (“Prose Purple”), Matt Sumell (“Toast”), John Jeremiah Sullivan (“The Princes”), Robyn Creswell, and Lorin Stein.
April 2, 2012 Arts & Culture The Rescue By John Banville Our Spring Revel will take place tomorrow, 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. “I first met Robert Silvers in 1989 at a party that George Plimpton gave for me at his apartment on Sutton Place.” It would be hard to exaggerate how gratifying it is to be able to write down such a sentence. Those were heady days. My novel, The Book of Evidence, had been shortlisted for that year’s Booker Prize, and I was riding on the crest of a wave that, as it turned out, would quickly run into the sands, though the ride was fine while it lasted. I may not have been exactly the toast of New York, but an evening at George’s place that included an encounter with the editor of The New York Review of Books was bubbly enough for me. Bob that night inquired where I was staying in New York and said he would “send something round.” When I got back to my hotel room there was a parcel waiting for me, containing Denis Donoghue’s memoir Warrenpoint, along with a note from Bob asking if I would write on it for the NYRB. At least, that was what it seemed to be asking, for this was my first experience of Bob’s handwriting and it took a good ten minutes of peering and squinting before I had deciphered enough of the message to guess at the overall import. I have had many notes from Bob since then, most of them brief and all of them hard to read, but never less than courtly in tone. The few longer ones have tended to be typed, on what is evidently a real typewriter. This last is oddly comforting; somehow a man who continues to type is a man one can trust. Read More
April 2, 2012 Arts & Culture Odd Corners Round About Brooklyn By Jenny Hendrix Djuna Barnes. Djuna Barnes, best known as a cult feminist-ish lesbian experimental novelist, once described herself—with unaccustomed hauteur—as “the unknown legend of American literature.” In her early career, she claimed to have worked for every English language publication in New York City, excepting only the Times, and by the time she left for Paris in 1921, had published some one hundred articles. As it turns out, Barnes is one of the great carnival barkers of the nonfiction world—a kind of Tom Wolfe of her day. A new exhibition of Barnes’s work at the Brooklyn Museum, running under the header “Newspaper Fictions,” concerns Barnes’s New York years, beginning with the day when, fresh from the slopes of Storm King Mountain—where she’d shared a log cabin with her mother, grandmother, polygamist father, his mistress, and her odd-monikered brothers Saxon, Zendon, Shangar, and Thurn—she allegedly marched into the offices of the Brooklyn Eagle, dressed in a milkmaid’s calico, and declared, “I can draw and write and you’d be foolish not to hire me.” James Joyce, perhaps the greatest influence on Barnes’s fiction, liked to advise, “Never write about an unusual subject, make the common unusual.” Barnes, for one, paid this dictum no mind: like Nathanael West and Flannery O’Connor, she adored a misfit. Her writing—full of immigrants, circus animals, freaks, socialists, hipsters, servants, and suffragettes—revels in the atmosphere of the “yellow nineties,” a period characterized by Wildean decadence and art for art’s sake. One of her articles begins, “There is something in the smell of Summer that makes one think of the smell of the sea, and the smell of salt and of heavy wet winds and of fish and the tangled mats of wet seaweed that come to shore, beaching themselves like wigs, somehow forgotten by tragedians strolling tragically by the sands.” Her journalism is dense with ornament of this kind, luring the reader into a baffling linguistic dream. Sometimes—out of either fancy or carelessness—it grows utterly surreal, as when she comments of Wilson Mizner that he “has a laugh like a French pastry shop.” Read More
March 30, 2012 Ask The Paris Review Poetic Doubt; Battling Anxiety By Lorin Stein I recently read Poets in Their Youth, by Eileen Simpson. Now I’ve taken to doubting my every turn. Am I a lout? A drag on my partner’s freedom and happiness? Am I going to drink myself into a coronary or into some sort of baking mishap? Is there anyway I can pretend that I won’t die cold and alone? Ash Ponders Dear Ash, From your note it’s hard to tell whether you’re a poet or a poet’s main squeeze. Those are both high-pressure jobs and generally conducive to drinking. But take heart. For whatever reason, poets today—even good ones—are much less likely to walk in front of a car, or gas themselves, or even destroy their livers than poets fifty years ago. This makes them easier to live with, I imagine. (How could it not?) Like, perhaps, more than a few of your readers, I am an anxious person. This anxiety manifests itself in a number of ways, but one of the most taxing is when it renders me extremely irritable. Feeling overwhelmed by a cornucopia of small tasks, I sometimes experience an actual skin-crawling physical discomfort as I attempt to slog through them—it’s nails-on-a-chalkboard all over if someone tries to talk to me or sends me an e-mail or if I even glance at any of my open tabs in Chrome. I have the feeling that reading should help—but all those tiny words on a page! It just makes me feel even more agitated. Do you have any particularly soothing books you could recommend? The book equivalent of a warm bath? (Obviously one can’t take a warm bath at work. Or at least not at mine.) Tim First, turn off your computer. You could have the calm of a lama, and you still wouldn’t be able to read a book and keep an eye on your e-mail. It can’t be done. Now, are you able to sneak out of the office? If so, head to the nearest library. Really. In my last job I used to take the subway up to the Forty-second Street library whenever I could. One day I got busted by my editor-in-chief. He was doing the exact same thing. If you can’t leave your desk, then close your door. If you can’t close your door, try earplugs or noise-canceling headphones. Readers of this column know my opinion of the Jeeves books. They are gratinee for the soul. Kids’ books lower my blood pressure, too: Roald Dahl, Narnia, E. Nesbit’s Complete Book of Dragons. My grandfather, in his long final illness, swore by Trollope. Read More
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