October 19, 2011 Books North American Books I Read as a Child in Castro’s Cuba By José Manuel Prieto Havana, Cuba. Photograph by Jordi Martorell. In the spring of 2007, I was invited to a dinner organized by The Paris Review in honor of Norman Mailer. The novelist had just published what would be his last novel, The Castle in the Forest, and would have a conversation with E. L. Doctorow. That evening, when Mailer entered the room, with his very distinctive mien—that of a rather solid and stout man who, because of his age, used two canes—I was deeply moved. I told him—what else do you say in those circumstances?—how much I admired his books and that I started reading them when I was very young, many years ago. A few days later I told a friend about this experience. “But, how?” he acted surprised, “Did you read Norman Mailer in Cuba?” And added, “Wasn’t he supposed to be one of the banned North American authors on the island?” My friend had imagined, perhaps for a good reason, that you couldn’t find American literature in Cuba, that it was banned because both countries were at more or less declared war, an openly proclaimed enmity. I patiently explained to him that nothing like this ever happened. Mailer’s books and those of many other North American authors were not censured in Cuba; in fact, they were widely sold. You could find them in every library; they could be read by everyone. Read More
October 18, 2011 At Work Aamer Hussein on ‘The Cloud Messenger’ By Jonathan Gharraie Aamer Hussein, courtesy of the writer. Though The Cloud Messenger is Aamer Hussein’s first novel, it comes after five collections of stories and a novella, Another Gulmohar Tree. Born in Karachi, Pakistan, but a long-time resident of London, Hussein has dramatized the sorts of encounters between and within cultures that reflect his own facility in seven languages. He writes with intelligent restraint about the experience of displacement, but also the indelible richness of wherever we like to think of as home. The Cloud Messenger draws on his own unsentimental education as a student of Farsi to create a romance about language and the unexpected life that reading and translating can take. Last year, we met to discuss the Granta anthology of writing from and about Pakistan at his home in West London. Could you begin by explaining your background? I’m from Karachi, third-generation in almost an accidental way, because both my grandfather and father were born there, even though they hadn’t lived there very much until after partition because of certain historical … mishaps, you might say. My mother is from Northern India and from a much more traditional family, although her father was an academic. Read More
October 18, 2011 Odd Jobs Pulling Teeth; Cold Calling By Chris Flynn Detail from 'Peasant Spreading Manure,' Jean-Fracois Millet, 1855, oil. Most dust jackets list only literary accomplishments, but I’ve always been a fan of offbeat author bios. So I asked some of my favorite writers to describe their early jobs. Clancy Martin: I worked at the buy counter at the Forth Worth Gold and Silver Exchange in Texas in the eighties. The only object there was to cheat people out of their jewelry, old gold, and sterling-silver flatware. If we paid more than ten percent of what we could wholesale the item for, we were paying too much: that was the rule. We kept dental pliers behind the counter so that people could pull out their gold teeth if they wanted to. This happened quite regularly, with very poor and homeless people who came in. They did it in the bathroom. They had to remove the gold from their teeth and clean it before we could weigh it. So that was my job. I was sixteen and still believed that the universe had an important moral order so I was constantly sending people—depending upon how they looked to me, if they seemed poor and deserving—to other jewelry stores where I knew they would be paid better prices. Often these people nevertheless took the price we offered. We ran such large ads and they waited in line so long to sell their items that all the fight had gone out of them. Téa Obreht: One fiscally woeful summer, I decided to get some cash by teaching ballroom dance. The manager of the local studio, where I sometimes practiced, informed me that a new coaching position would open up within a few weeks, but in the meantime I could perform the equally important task of following up with past studio members and encouraging them to return. This entailed sitting in a subterranean office, going down a list of phone numbers in the student ledger, and saying things like, “Good evening, we haven’t seen you recently, can we interest you in more lessons?” There were, of course, the obligatory no-thank-yous and go-to-hells, but every so often, someone would say something like, “Unfortunately, my recent hip replacement makes that impossible,” or “As I explained to the young lady last week, my wife is still dead and we won’t be coming any more.” After about a week of this, I went to work in the stockroom of a furniture store. Chris Flynn is the books editor at The Big Issue and the fiction editor at Australian Book Review.
October 17, 2011 Books Assault on the Minibar By Dubravka Ugresic At the reception desk I filled in all the necessary details and got the key. Before I headed off to my room the receptionist asked: “Would you like to open a hotel account?” “What’s that?” “It means that you don’t have to pay for everything you have or use in the hotel immediately, you just give your account number.” I declined. What do I want with a hotel account? I’m only here for three days. Breakfast is included, and most of the time I’ll be out and about. The room was large, luxurious, and had that fresh new smell. The furniture was certainly brand-new, the bathroom enormous, and the heavy windows opened gracefully with the touch of a button. I hadn’t even gotten around to unpacking my things when I heard a knock at the door. “Can I help you?” I asked the young porter. “Sorry, but I have to lock the minibar.” Read More
October 17, 2011 First Person The Disaster Year By C.I. Shelton Photo courtesy of NOAA. A neon-yellow flyer was tucked underneath the blade of my windshield wiper after work that Friday. It promised that the world would end the following day: Saturday, May 21, 2011. That morning in class, Ivan, a lanky boy who was always raising his hand to make pointless comments, had peeked from around his laptop screen and announced, “We don’t have time to talk about Beloved, Mr. Shelton.” Another student added, “With all due respect, sir, we’re all going to be smited tomorrow.” I had landed in Joplin, Missouri, completely by mistake. I moved back to Indiana at the tail end of the Great Recession. “You need to press the reset button,” my mother had told me. I tried everything: registered with staffing agencies, mowed lawns, took career-aptitude tests, babysat, substitute-taught in the local school system, dodged loan officers. As a last-ditch effort I intended to go overseas and teach English in Japan. A number of my friends were teachers there already; it seemed to be some sort of small oasis in the occupational wasteland that awaits humanities majors. Read More
October 14, 2011 Ask The Paris Review Life Outside of Academia; Ghost Stories By Lorin Stein and Sadie Stein Who are the great American writers of today who do not hold teaching positions or B.A.s or M.F.A.s in literature? It is very frustrating to read that so and so teaches at this or that university, or has an M.F.A. from this prestigious school. Who are the writers writing to make the rent, making a living solely off the written word? Who are the writers writing about life outside of academia? And why is it that people outside of first-world countries have no idea or even care about what American writers are writing about today yet hold Hemingway and even Bukowski in such high esteem? —Fernando A. Flores I can’t say for certain who holds what degree, or who has held what job—one never knows what skeletons lurk in a writer’s closet—but to answer your second question: with a very few exceptions (Nora Roberts?) people don’t make the rent by writing books. Either you teach, or you write for the movies (or someone else turns your books into movies), or you get a staff job at a magazine. That’s one way to live by the word, and lots of excellent writers do it. They often complain that it gets in the way of writing great books. As for the question of why foreigners like Bukowski, I would guess he translates well. Or easily, at least. Besides, they like us butch. —Lorin Stein I love to read ghost stories and thrillers in the fall. What’s your favorite frightening book? I’m with you: scary reads are right up there with apples and changing leaves. That said, everyone enjoys something different; I have an uncle who swears by serious horror, whereas I’m more of what Netflix might term the “psychological thriller” persuasion—I like the occult just fine, but zombies, vampires, crazed animals, and most serial killers need not apply. For the last few weeks, I’ve been giving myself nightmares with a daily dose of M.R. James’s classic ghost stories. You can’t beat Daphne du Maurier for atmospheric spookiness: both Rebecca and Don’t Look Now are terrific reads, period (with adaptations to match). And more recently, I enjoyed Sarah Waters’s The Little Stranger a great deal—a haunted-country-house story with a twist. Lastly, if you can get your hands on Charles MacLean’s The Watcher, do it; the third act is sort of ludicrous, but I don’t think I’ve ever been more genuinely terrified while reading. —Sadie Stein Read More